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. Website Ryuichi Sakamoto ( 坂本 龍一, Sakamoto Ryūichi, born January 17, 1952) ( Japanese pronunciation: ) is a Japanese musician, singer, composer, record producer, activist, writer, actor, and dancer based in and.
He began his career while at university in the 1970s, as a session musician, producer, and arranger. His first major success came in 1978 as co-founder of the trio. With his bandmates and, Sakamoto helped pioneer the genres of, and music. He concurrently pursued a solo career, releasing the electronic album in 1978. Two years later, he released the album B-2 Unit; one track from it, 'Riot in Lagos', has been said to have influenced the development of and. He went on to produce more solo records, and collaborate with many international artists, and among them.
Sakamoto has pursued a wide variety of projects in different genres, ranging from to, to. He composed music for opening ceremony of the 1992, and his composition 'Energy Flow' (1999) was the first number-one single in Japan's charts history. As a composer, Sakomoto has won an, a, a, and two. (1983) marked his debut as both an actor and a film-score composer; its main theme was adapted into the single ' which became an international hit.
His most successful work as a film composer was (1987), after which he continued earning accolades composing for films such as (1990), (1993), and (2015). On occasion, Sakamoto has also worked as a composer and a on and. In 2009, he was awarded the from the of France for his contributions to music. Contents. Career 1970s Sakamoto entered the in 1970, earning a B.A. In and an with special emphasis on both electronic and. He studied there with the intention of becoming a researcher in the field, due to his interest in various traditions, particularly the (especially ), and traditions.
He was also trained in and began experimenting with the equipment available at the university, including synthesizers such as the, and. One of Sakamoto's classical influences was, who he described as his 'hero' and stated that “ heavily influenced Debussy, and Debussy heavily influenced me. So, the music goes around the world and comes full circle.” In 1975, Sakamoto collaborated with percussionist Tsuchitori Toshiyuki to release Disappointment-Hateruma. After working as a session musician with and in 1977, the trio formed the internationally successful band (YMO) in 1978.
Known for their seminal influence on electronic music, the group helped pioneer such as, music, and. The group's work has had a lasting influence across genres, ranging from and to and general.
Sakamoto was the songwriter and composer for a number of the band's hit songs—including ' (1978), ' (1979), ' (1980), ' (1983) and ' (1983)—while playing keyboards for many of their other songs, including international hits such as ' (1978) and ' (1979). He also sang on several songs, such as ' (1983). Sakamoto's composition ' (1979) was credited as a contribution to the development of music, while the internationally successful ' (1978)—a synthpop song in which he sang vocals through a —was later by a number of international artists, including and. Sakamoto released his first solo album in mid-1978 with the help of —Hosono also contributed to the song 'Thousand Knives'. The album experimented with different styles, such as 'Thousand Knives' and 'The End of Asia'—in which electronic music was with traditional —while 'Grasshoppers' is a more piano song. The album was recorded from April to July 1978 with a variety of, including various synthesizers, such as the, a; the; the; the, the; the; the, which is a vocoder; the, which is an; the, an kit; and the -based, which is a that was programmed by Matsutake and played by Sakamoto. A version of the song 'Thousand Knives' was released on the Yellow Magic Orchestra's 1981 album.
This version was one of the earliest uses of the, for YMO's live performance of '1000 Knives' in 1980 and their BGM album release in 1981. A sample of 'Riot in Lagos' from Ryuichi Sakamoto's 1980 album B-2 Unit. This track is credited for having anticipated the beats and sounds of.
Problems playing this file? In 1980, Sakamoto released the solo album B-2 Unit, which has been referred to as his 'edgiest' record and is known for the electronic song 'Riot in Lagos', which is considered an early example of (electro-funk), as Sakamoto anticipated the beats and sounds of electro.
Early electro and hip hop artists, such as and, were influenced by the album—especially 'Riot in Lagos'—with Mantronik citing the work as a major influence on his electro hip hop group. 'Riot in Lagos' was later included in 's Kings of Electro (2007), alongside other significant electro compositions, such as 's 'Al-Naafyish' (1983). According to Dusted Magazine, Sakamoto's use of squelching sounds and mechanical was later incorporated in early electro and productions, such as “” (1982), by and; “” (1982), by and; Twilight 22’s “Electric Kingdom” (1983); and Kurt Mantronik's (1985). The 1980 release of 'Riot in Lagos' was listed by in 2011 as one of the 50 key events in the history of. Among other tracks on B-2 Unit, 'Differencia' has, according to, 'relentless tumbling beats and a stabbing that foreshadows by nearly a decade'.
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Some tracks on the album also foreshadow genres such as, and, and the work of producers such as and. For several tracks on the album, Sakamoto worked with UK producer, incorporating elements of and. Also in 1980, Sakamoto released the single 'War Head/Lexington Queen', an experimental and electro record, and began a long-standing collaboration with, when he co-wrote and performed on the track 'Taking Islands In Africa'. In the following year, Sakamoto collaborated with and guitarist and for an album titled Left-Handed Dream.
Following Japan's dissolution, Sakamoto worked on another collaboration with Sylvian, a single entitled ' in 1982. Sakamoto's 1980 collaboration with, 'Ikenai Rouge Magic', topped the singles chart. In 1983, Sakamoto starred alongside in director 's. In addition to acting in the film, Sakamoto also composed the film's musical score and again collaborated with Sylvian on the film's main theme (') – which became a minor hit. In a 2016 interview, Sakamoto reflected on his time acting in the film, claiming that he 'hung out' with Bowie every evening for a month while filming on location. He remembered Bowie as 'straightforward' and 'nice', while also lamenting the fact that he never mustered the courage to ask for Bowie's help while scoring the film's soundtrack as he believed Bowie was too 'concentrated on acting'.
Sakamoto released a number of solo albums during the 1980s. While primarily focused on the piano and synthesizer, this series of albums included collaborations with artists such as Sylvian, and. Sakamoto would alternate between exploring a variety of musical styles, ideas and genres—captured most notably in his 1983 album Illustrated Musical Encyclopedia—and focusing on a specific subject or theme, such as the Italian movement in Futurista (1986).
For the song 'Broadway Boogie Woogie', Sakamoto liberally used samples from 's film and blended them with raucous, sax-driven techno-pop. As his solo career began to extend outside Japan in the late 1980s, Sakamoto's explorations, influences and collaborators also developed further. (1989) features a track list that combines pop with traditional Japanese and, as well as guest appearances by, and.
(1991) and Sweet Revenge (1994) features Sakamoto's collaborations with a global range of artists such as, Dee Dee Brave, Marco Prince, and. 1990s In 1995 Sakamoto released Smoochy, described by the Sound On Sound website as Sakamoto's 'excursion into the land of easy-listening and Latin', followed by the album, which featured a number of previously released pieces arranged for solo piano, violin and cello. During December 1996 Sakamoto, composed the entirety of an hour-long orchestral work entitled 'Untitled 01' and released as the album Discord (1998). The release of Discord was sold in a that was covered by a blue-colored made of, while the CD also contained a data video track. In 1998 the record label released the Prayer/Salvation Remixes, for which prominent electronica artists such as Ashley Beedle and Andrea Parker remixed sections from the 'Prayer' and 'Salvation' parts of Discord.
Sakamoto collaborated primarily with guitarist David Torn and —artist provides spoken word on the composition—and the recording was condensed from nine live performances of the work, recorded during a Japanese tour. Discord was divided into four parts: 'Grief', 'Anger', 'Prayer' and 'Salvation'; Sakamoto explained in 1998 that he was 'not religious, but maybe spiritual' and 'The Prayer is to anybody or anything you want to name.' Sakamoto further explained: The themes of Prayer and Salvation came out of the feelings of sadness and frustration that I expressed in the first two movements, about the fact that people are starving in the world, and we are not able to help them. People are dying, and yet the political and economical and historical situations are too complicated and inert for us to do much about it. So I got really angry with myself. I asked myself what I could do, and since there's not a lot I can do on the practical level, all that's left for me is to pray.
But it's not enough just to pray; I also had to think about actually saving those people, so the last movement is called Salvation. That's the journey of the piece. In 1998, Italian ethnomusicologist published through the Padova, Arcana imprint.
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All three editions of the book were published in the. Sakamoto's next album, (1998)—an for 'Back to the Basics'—was a fairly opaque reaction to the prior year's multilayered, lushly orchestrated Discord. The album comprised a series of original pieces on solo piano, including 'Energy Flow' (a major hit in Japan) and a frenetic, four-hand arrangement of the Yellow Magic Orchestra classic 'Tong Poo'. On the BTTB U.S.
Tour, he opened the show performing a brief set under the stage name DJ Lovegroove. Sakamoto's long-awaited 'opera' LIFE was released in 1999, with visual direction by, artistic director of. It premiered with seven sold-out performances in Tokyo and Osaka. This ambitious multi-genre multi-media project featured contributions by over 100 performers, including, and. With Sakamoto in 2007.
Sakamoto teamed with cellist (a member of his 1996 trio), and Morelenbaum's wife, on a pair of albums celebrating the work of pioneer. They recorded their first album, Casa (2001), mostly in Jobim's home studio in, with Sakamoto performing on the late Jobim's grand piano. The album was well received, having been included in the list of 's top albums of 2002. A live album, Live in Tokyo, and a second album, A Day in New York, soon followed. Sakamoto and the Morelenbaums would also collaborate on N.M.L. No More Landmine, an international effort to raise awareness for the removal of landmines.
The trio would release the single 'Zero Landmine', which also featured, and &, the other two founding members of, amongst nearly one hundred other performers. Sakamoto collaborated with (an alias of ) to release, an album of Sakamoto's piano clusters treated by Nicolai's unique style of digital manipulation, involving the creation of 'micro-loops' and minimal percussion. The two produced this work by passing the pieces back and forth until both were satisfied with the result. This debut, released on German label, was voted record of the year 2004 in the electronica category by British magazine. They then released (2005)—while produced in a similar manner to Vrioon, this album is somewhat more restrained and minimalist. They keep on collaborating and have released two more albums: (2008) and (2011). In 2005, mobile phone manufacturer hired Sakamoto to compose ring and alert tones for their high-end phone, the.
In 2006, Nokia offerred the ringtones for free on their website. Around this time, a reunion with YMO cofounders Hosono and Takahashi caused a stir in the Japanese press. They released a single 'Rescue' in 2007 and a DVD 'HAS/YMO' in 2008. In July 2009, Sakamoto was honored as at the French embassy in Tokyo. 2010s–present.
Main article: In 2006 Sakamoto, in collaboration with Japan's largest independent music company, founded ( コモンズ, Komonzu), a seeking to change the manner in which music is produced. Sakamoto has explained that Commmons is not his label, but is a platform for all aspiring artists to join as equal collaborators, to share the benefits of the. On the initiative's 'About' page, the label is described as a project that 'aims to find new possibilities for music, while making meaningful contribution to culture and society.' The name 'Commmons' is spelt with three 'm's because the third 'm' stands for music. Awards and nominations Sakamoto has won a number of awards for his work as a film composer, beginning with his score for (1983) winning him the. His greatest award success was for scoring (1987), which won him the, and, as well as a nomination.
His score for (1990) later won him his second, and his score for (1993) received another nomination. In 1997, his collaboration with, Music Plays Images X Images Play Music, was awarded the Golden Nica, the grand prize of the competition. He also contributed to the winning (2006) with several pieces of music, including the 'Bibo no Aozora' closing theme.
In 2009, he was awarded the from France's for his musical contributions. His score for (2015) was for the Golden Globe and BAFTA, and won Best Musical Score from the. The music video for 'Risky', written and directed by Meiert Avis, also won the first ever MTV '. The ground breaking video explores philosopher 's (Persian: فریدون اسفندیاری) ideas of 'Nostalgia for the Future', in the form of an imagined love affair between a robot and one of 's models in Paris in the late 1930s. Additional inspiration was drawn from, 's 1894 painting 'Puberty', and '. The surrealist black and white video uses stop motion, light painting, and other retro in-camera effects techniques. Meiert Avis shot Sakamoto while at work on the score for 'The Last Emperor' in London.
Sakamoto also appears in the video painting words and messages to an open shutter camera. Iggy Pop, who performs the vocals on 'Risky', chose not to appear in the video, allowing his performance space to be occupied by the surrealist era robot. Sakamoto won the Golden Pine Award (Lifetime Achievement) at the 2013 International Samobor Film Music Festival, along with and. Honorary awards.
2009 –, from France's. 2013 – Golden Pine Award (Lifetime Achievement), at 2013 International Samobor Film Music Festival Soundtrack awards. 1987 – (won). 1983 – (won). 1987 – (nominated).
2015 – (nominated). 1987 – (won). 1990 – (won).
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1993 – (nominated). 2015 – (nominated). 1987 – (won). 2015 – (nominated) Other awards. 1997 – Golden Nica, grand prize of, for Music Plays Images X Images Play Music., for music video of 'Risky' Discography.