He produced “Christmas Songs”, a Christmas album participated by Haruomi Hosono, yukihiro Takahashi, Ryuichi Sakamoto and so on. It features Sean O Hagan, Valgeir Sigurosson and Yukihiro Takahashi as guest players. In 2010 For the first time in four years, he released his solo album under his own name. On October 12nd 2009, he produced Tomoyo Harada’s album
On February 18th 2009, he produced Kourin’s album “Hibino-Uta (Sony music)”. On November 28th 2007, he produced Tomoyo Harada’s 25th anniversary album “music & me”. He wrote the inserted song and soundtrack for two short movies, “identify”and”metamorphosis”, directed by Masahiko Nagasawa for Fuji television’s campaign event. This tribute CD includes Ryuichi Sakamoto, YukihiroTakahashi, Steve Jansen, Hiroshi Takano, Masakatsu Takagi, and so on. They were released from “commons”, Ryuichi Sakamoto’s label. Tribute album and Penguin Cafe Orchestra Japanese best album. On August 8th, he produced two CDs, Penguin Cafe Orchestra
The movie is directed by Kichitaro Negishi and features Yusuke Iseya, Kouichi Sato, Kyoko Koizumi & Kazue Fukiishi. This movie won 4 prizes including Best Director & Best Male Actor at the 18th Tokyo International Film Festival. He wrote the soundtrack to the movie, “To Pray for Snow”. Tomoyo Harada(Japanese famous actress and singer) sings two songs in Moose Hill’s second album “desert house”(2006). The album has won the “Disco de Quro da Musica popular Brasileila” best album award in 2014. With them, Jorge Helder, Rafael Barataand other excellent Brazilian musicians, he has produced the album “Rendez-vous in Tokyo” recorded in Rio and Tokyo. He also has maintained close musical relations with Brazilian musicians such as Jaques and Paula Morelenbaum. He has worked with Takashi Hiraide, a poet who won the Best Translated Book Award by his poetry collection “For the Fighting Spirit of the Walnut” in USA. For singer and actress Tomoyo Harada, he has produced many songs and albums. Besides his own work he has collaborated with various musicians including Ryuichi Sakamoto, Haruomi Hosono and Yukihiro Taskahashi. While pursuing his own music with profound taste of Bossa Nova, he has played in genre-straddling style of music such as classic and rock, etc. The lush grand finale features all of the self-empowered heft and fine-boned focus of Celine Dion without a hint of the haughty or the saccharine.įind the vinyl edition of the soundtrack pressed on a pair of 180-gram black vinyl discs and housed in gatefold packaging with liner notes from Levitas, for what the director calls Sakamoto’s talent to “represent both the absolute best of humanity as well as the worst.Goro Ito, a composer, arranger, guitarist and producer, has been active as a solo artist “MOOSE HILL” and also as member of a bossa-nova duo “ naomi & goro”Īlong with releasing his own albums and performing at home and abroad, he has written music for movies etc. Who ) after Sakamoto’s involvement in the project. Though the final track contains every trick in Sakamoto’s kit bag and pulls from his electronic dance past (its thumping, sequenced rhythms), “One Single Voice” was recorded by Welsh mezzo-soprano Katherine Jenkins (famous for a beloved Christmas episode of Dr. If you didn’t think a score emulating the effects of industrial pollution and one man’s dedication to portraying pain and beauty could find a composer, you’ve missed the point of Sakamoto’s long career’s aesthetics. Starting with its gently halting piano opening theme and traveling through quietly whining atmospheric battles between sequencers, breathy voices, and real-time strings (“Landscape,” “Chisso Co.”), tonic glitch-hop riffs (“The Boy”) and their sinister equivalent (“Hidden Data”), opulent cello runs (“Boy and Camera”), and burnt-edged, electro-ambient (with squeezebox) scowls (“Into Japan”), the sonic monologue behind the true-life events of aged American war photographer Eugene Smith (played by Johnny Depp in director Andrew Levitas’ gritty film) documenting the effects of mercury poisoning on a coastal town in Japan is exactly what we’ve come to expect from latter-day Sakamoto.įar beyond his historic, ethnographic co-penned score for Bernardo Bertilucci’s The Last Emperor (for which the composer won an Oscar), and more moodily along the lines of his intimate, textural 2017 studio album async and his recent soundtrack for Black Mirror: Smithereens, Sakamoto shows off a mind and a taste for menacing, tactile music which meshes the oceanic-winded scale of the elements, be it the organically orchestral or the sumptuously synthetic, with cricket nattering glitches for physical punctuation. Somewhere between an Eric Satie still life and Jerry Goldsmith’s noir-jazz score for Chinatown exists the coolly emotional and subtly effervescent yet earthen music for the film Minamata from composer and instrumentalist Ryuichi Sakamoto. Minamata (Original Motion Picture Soundtrack)