#Ryuichi sakamoto playing the piano full
Extended viewing is necessary for the installation to be felt in its full force. The ultimate effect of the installation is subtle, gradually working its effect on viewers across half an hour. The ambient noise from the installation is primarily drawn from Sakamoto’s album, async, but manages to add a physical presence to the album through the use of the piano. It is particularly striking when the light casts the other viewers of the installation in an uncanny light, which may be a deliberate effect. Most surprising of all may be when the room comes to life, speaking with numerous voices including perhaps that of the piano itself, as viewers tend to drift around the room, moving around the piano, so as to hear the different sounds that can only be heard in certain locations. At other points, the visualization suggests something like transcendence. Sometimes the visualization evokes the flood itself, or the sense of being cast adrift. The arrangement of the machinery around the piano maintains the original structure of the piano, but seems to give it voice.Īs the viewer’s eyes adjust to the light, the visualizations on the monitors become more prominent. Other times, the notes hit broken strings, showing how the piano can itself be seen as something of a victim of the Tohoku earthquake and tsunami-damage from flooding is still visible around the piano. Sometimes, the piano seems to play haunting, ghostly notes from its original owners, who could very well be dead in the wake of the typhoon and who are, in any case, lost to time. Ten monitors set up around the room display visualizations drawn from seismic data. Machinery installed around the piano allows it to play notes without a player, which is paired with ambient noise from an array of speakers set up around the room that the piano is placed in the center of. The installation, then, animates the piano. The piano stands in the center of a dark room when viewers enter the installation. The art installation is currently showing in the Taipei Music Center until November 14th, after having already been shown in Tokyo and Beijing. Ryuichi Sakamotos legions of fans will have a new special 2-CD package to savor on September 28th (Decca Label Group): the two albums, playing the piano and out of noise, present a wide-ranging view into the world of this composer, musician, producer, actor, and environmental activist.
This is presented through the piano at the centerpiece of the installation, which was discovered by Sakamoto in the ruins of a building in the affected Fukushima prefecture, left behind by its owners-wherever they might be now. 'Con este disco me di cuenta que a veces es bueno llegar a la simpleza de la Violeta Parra. El cantautor, productor y exintegrante de La Sociedad destaca el LP de 2009 en el que el maestro japons reinterpreta slo con piano algunas de sus piezas ms celebradas. Symbiosis in action.RYUICHI SAKAMOTO and Shiro Takatani’s art installation, “Is Your Time,” proves a powerful meditation on the 2011 Tohoku earthquake and tsunami. Mi disco favorito: Playing the Piano de Ryuichi Sakamoto por Daniel Guerrero. Thus noto's electronics take on a new purpose, adding enterprise to otherwise inward-looking compositions. The romantic Sakamoto dwells heavily on his feelings, soaking the music in melodrama wherever possible, and rarely alters the predominant tone of mumpish solemnity. But Sakamoto 's evocative music can be just as effective on a smaller scale, and on the album Playing the Piano. You almost had to tune out Transform to enjoy it, it so filled with absence, but with Sakamoto's piano underlying the circuitry, Vrioon could conceivably be said to have a presence. Ryuichi Sakamoto was one of Japan's innovators in electronic pop with the group Yellow Magic Orchestra, and he later established himself as a world-class composer, winning an Academy Award for his score for the film The Last Emperor.
Vrioon places the same sort of minimalism in a very different context. It was also named album of the year in 2004 by The Wire magazine. The album was elected among the first 50 albums of 2003 by magazine The Wire. A minimalist album, it is characterized by an unusual experimental sound driven by piano and distorted, clipped samples (a sound which Sakamoto and Noto would also experiment with in Insen in 2005).