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It’s a record that seems to unravel in perpetuity; exposing new layers with every repeated listen.
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If you're yet to sink into this incredible piece of music - we genuinely envy what's in store for you.
If you're familiar with it already, you'll know exactly what we're talking about.
Sakamoto at his most wistful and wonderful, meditating on the existentialist, ontological themes and atmospheres of Tarkovsky’s work from both a gauzily impressionistic aspect, and a quite literal one, employing readings of Tarkovsky’s poetry (poem transcribed in the liner notes) in a variety of languages from a coterie of contemporaries including long time collaborators David Sylvian, Bernardo Bertolucci (for whom he composed the OST for The Last Emperor) and Carsten Nicolai (Alva Noto), among others.
Embracing both the fluidity and flux of Tarkovsky’s water analogies as well as the harmonic chaos of Harry Bertoia’s lush metal rod clangour, Sakamoto melds feather touch acoustic keys with field recordings, shimmering electronic patinas and signature synthesiser flourishes in a suite that beautifully lives up to and even transcends its influences, revealing some of the most achingly emotive yet often abrasive and abstract work in a catalogue now spanning over 40 years of exemplary work.
more Surely the most innovative dancefloor album you'll hear in 2017; complete joyful abandonment that's both utilitarian and absolutely daring in form.
You dont need a PHD to get behind this one, though having one in quantum mechanics might help you unravel the seemingly endless energy levels woven into its fabric - having taken no less than 13 years to construct. At long fucking last Errorsmith relinquishes his long awaited new LP for the good of the dance, twysting Black Atlantic rhythm patterns with computer music in a way that pushes all of our buttons at once.
It would have been dishonest to pick anything else for our choice for record of the year 2017 - ‘Grafts' has more or less been on constant rotation here since the very start of the year and has dug its claws deep into our psyche in the months since.
A blissfully introspective 22 minute piece for keys, samplers and EQs in three parts; it’s instantly easy on the ear - rarely a mark of longevity - but it continues to resonate and transfix regardless of how intimately you become acquainted with its uncanny, cunning manoeuvres.
The album’s key is cheekily embedded in the title, as the arch Berlin disco sound designer assuages Superlative Fatigue by properly drilling down to the truth of the matter - the purest, most effective grooves and scintillating sounds to flip wigs like nobody else.