But before it was released, Sakamoto slipped out an album of his own: Thousand Knives of Ryuichi Sakamoto. The result was the historic self-titled debut album from Yellow Magic Orchestra. The point was to send up the ridiculous orientalism peddled by artists like Les Baxter, reclaiming a fanciful Western take on the far East.
At the time, Ryuichi Sakamoto was a respected session musician in Japan, working his way through the industry, when he was recruited by Haruomi Hosono for a one-off album of electronic exotica. Phuture invented acid house when they stumbled upon design quirks in Roland’s TB-303 hip-hop was born at a block party and, in 1978, one of electronic music’s most distinctive voices got his start in a parody group. However, there are some standout tracks on side two: 'Cue' by and is a very assured ballad, given sufficient frisson by its galloping synth line and strangely programmed drums 'U.T' is a Kraftwerk-ian instrumental charged with menace and speed and 'Loom' finally gets to a calm resting place of dripping water, floating electronics, and a -esque atmosphere.Perhaps not seeing it was the point: Many of electronic music’s greatest innovations occurred in the shadows, through misuse, amateurism, or accident. And 's attempt to understand rap ('Rap Phenomena') is as plodding as it is embarrassing.
One of 's efforts ('1000 Knives') comes from his 1978 solo album, revisited here as a twisted blurp of an instrumental the other ('Happy End') is all atmosphere and no substance. There's also the sense of a group rushing to put out another album (close on the heels of ). Instead, it's a continuation of 's techno aesthetic, focusing more on 's distorted vocals and similarly liquid synth sounds, which give much of the album a melancholic air. Stands for 'background music,' and one could be mistaken for thinking that this is an album of ambient-sounding tracks.
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