Ryuichi Sakamoto Social Project, Korea

11/07/2025

FYI
”[CLICHÈ]는 단순한 결과물이 아니라 ‘어떻게 하면 좋은 음반을 만들 수 있을까’에 대한 치열한 고민과 실험의 산물이었어요. 어떤 엔지니어, 어떤 녹음실, 또 어떤 장비로 작업해야 일정한 퀄리티를 보장할 수 있을지.. 며칠동안 고민하면서 하나하나 계산해가면서 만든 앨범이었습니다.“

”사실 이 앨범은 지금 우리가 흔히 사용하는 휴대전화보다도 성능이 떨어지는 장비로 만들어졌어요. 제가 사용하던 매킨토시조차도 지금의 스마트폰과 비교하면 성능이 한참 부족했죠. 하지만 시간이 지나면서, 점점 좋은 스튜디오에서 녹음하는 의미가 점점 사라지고 있었다보니 ’이제는 하지 않았던 걸 해야 한다-‘는 생각을 갖고.. 홈레코딩임에도 불구하고 상업적인 스튜디오 못지 않은 사운드를 들려주고 싶다는 욕심이 맞물려서, 수고스럽지만 이런것들이 동력으로 작용했던거 같습니다.“

”그래서 주변 사람들의 귀가 절실하게 필요했었어요. 김동률 씨, 박창학 씨 같은 친구들에게 믹스가 완성 될 때마다 한 곡씩 들려줬고, 그분들이 ’괜찮다‘고 말해주면, 다음 작업을 이어가는 방식으로 작업을 진행했습니다. 제가 제 자신을 온전히 신뢰하지 못했던 때라서 그렇기도 했지만, 혼자서 모든걸 다 만들어야 하는 상황이라 그렇기도 했습니다.“

윤상 CLICHÈ - Remastered Vinyl 2023 앨범 코멘터리
VELOSO, Seoul / 2023.10.22 (일) 오후 5시

bio link_!!

09/07/2025

𝐑𝐘𝐔𝐈𝐂𝐇𝐈 𝐒𝐀𝐊𝐀𝐌𝐎𝐓𝐎 | 𝐎𝐏𝐔𝐒​ un film de Neo Sora 🇯🇵 🎹
En automne 2022, Ryuichi Sakamoto, atteint d’un cancer, n’a plus la force de se produire en concert. Seul au piano, sans public, il interprète vingt morceaux emblématiques, dont l’ordre scande sa vie d’artiste. Entouré de ses plus proches collaborateurs, il se livre comme jamais lors de cette ultime performance lui permettant de faire ses adieux.
U​n moment de grâce pour l‘éternité.

𝐀𝐔 𝐂𝐈𝐍𝐄𝐌𝐀 𝐋𝐄 𝟑𝟎 𝐉𝐔𝐈𝐋𝐋𝐄𝐓

25/06/2025

SKMT | dig 🌑

Hidariude no Yume (Left Handed Dream, 1981)
by Ryuichi Sakamoto

Listen: https://kabamerica.lnk.to/LeftHandedDream

Ryuichi Sakamoto’s ”Left Handed Dream“ emerged from pure creative instinct. ”We created songs day by day,“ Sakamoto recalls. ”Not finished music, but starting with just a drum idea, then adding bass riffs, guitar riffs.“
The recording process was deliberately unstructured - 13 pieces were recorded, with only 10 making the final album. ”Whatever sounded interesting, we put it all in. We captured inspiration without hesitation. I wanted to move away from calculated music.“

In contrast to Sakamoto‘s previous album, ”B-2 Unit“, which had, as he described, ’descending energy‘, ”Left Handed Dream“ aimed for ’upward energy‘. Sakamoto embraced contradictions in his artistic identity: ”I couldn’t hide that I had a pop sensibility. Instead of rejecting it, I decided to let it flow naturally alongside my conceptual and free music tendencies.“

The album featured diverse collaborators: Robin Scott and King Crimson‘s guitarist Adrian Belew, Yukihiro Takahashi, percussionist Kiyohiko Semba (traditional Japanese music specialist), Robin Thompson (who studied with Stockhausen and played gagaku), and violinist Kaoru Sato from Kyoto’s new wave scene. This created a more ”organic“ sound compared to his previous electronic works.

Most remarkably, Sakamoto included a piece made from monkey sounds - a collaboration with Shigesato Itoi for a TV program. ”I‘m fascinated by whether monkeys have music,“ he explained. ”They express themselves through sounds, screeching and hitting things.“ The resulting collage, featuring ”rhythm-backing monkeys and melody monkeys,“ made it onto the album.

This represented Sakamoto using his ”brain as a tool“ - letting everything emerge rather than suppressing elements as he had done previously.

Full article available in Japanese:
https://www.snrec.jp/entry/2020/04/30/120000

Photo: ©MIDI Inc.

25/06/2025

20/06/2025

_ via .tdy.tmrrw

20/06/2025

South Korea’s beloved indie rockers SE SO NEON are back with a powerful new single, 'Remember!', released in both Korean and English, alongside a s...

13/06/2025

“I had asked Brian Wilson to sing on the album so I went to Los Angeles and we recorded with him. I had been informed that he had had a difficult time, some kind of mental illness, and I could sense that, even though he wasn’t that surprising in the studio. But then the following day, I flew from LA back to New York to continue recording and he showed up without telling me, with his whole family in tow. The schedule was already tightly planned, but I was so grateful he‘d come, so we made some time to work with him. It was a beautiful moment – one I won’t forget for the rest of my life.“ by Ryuichi Sakamoto

“Brian Wilson에게 앨범에 참여해 달라고 부탁드렸고, 그분과 함께 로스앤젤레스로 가서 녹음을 진행했습니다. 한동안 힘든 시간을 보내셨고, 정신적인 어려움을 겪으셨다는 이야기를 들었기에, 스튜디오에서는 특별히 놀라운 행동을 보이시진 않았지만, 그런 분위기가 느껴지긴 했습니다. 다음 날, 저는 다시 뉴욕으로 돌아와 녹음을 계속하고 있었는데, 그분께서 아무런 연락도 없이 가족분들과 함께 뉴욕으로 찾아오신 겁니다. 이미 일정이 꽉 차 있었지만, 그렇게까지 와주신 것이 너무나도 감사해서, 시간을 내어 함께 작업을 할 수 있었습니다. 정말 아름다운 순간이었고, 제 평생 잊지 못할 기억이 되었습니다.” by 사카모토 류이치

via The Quietus‘s Article (12 May 2011)

11/06/2025

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via

SKMT | dig 🌕
Boku no Kakera (ぼくのかけら)
from Left Handed Dream (1981)

https://kabamerica.lnk.to/BokunoKakera

The opening track of Sakamoto's third solo album marks a turning point. Built around taiko drums, gagaku instruments, Prophet-5 synthesizer, and the Roland TR-808, the piece moves with an open, unforced rhythm. Toward the end, Sakamoto's quiet voice can be heard repeating:
“あげるよ ぼくのかけら　ありがとう きみのかけら”
("This—a piece of me. Arigato—a piece of you.”)

"Boku no Kakera" signals Sakamoto's break from Western pop conventions. The album pursued what he called "festive music"—deliberately avoiding funk rhythms in favor of an indigenous percussive sound that abandons techno in search of something less codified, more fluid, and grounded in non-Western sensibilities.

Recorded between Studio 'A' in Tokyo and Roundhouse Studio in London during the summer of 1981, "Left Handed Dream" was released in different versions for Japanese and international markets.

10/06/2025

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04/06/2025

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