Ryuichi Sakamoto
Chasm

Ryuichi "lastimperator" Sakamoto has ended up being a sort of collective. Indeed, he decided some time ago to keep under the same name the multifaceted expressions of his uncommon musical talent. Therefore, it’s pointless to wonder who the real Sakamoto is: whether it's the early days’ pianist devoted to electro-pop in the Yellow Magic Orchestra; or the tireless musical mediator, the advocate of the possible fusion between East and West, between tradition and avant-garde; whether it's the sublime and acclaimed soundtrack composer; or even the lovestruck fan of Jobim's Bossa Nova; without overlooking the pop-maker who "gets his hands dirty" with house, electronics, funk, and rap. All these facets, and more, coexist in him harmoniously, sometimes appearing on the scene all together, as in his latest work, "Chasm".

It is entirely understandable that, as much as or even more than other works by the Japanese musician, the work defies any definition. The sequence of tracks creates a constant disorientation: none is the same as the other, but all, like in a complex puzzle, contribute to outlining his unmistakable profile. Listening to "Chasm" is a bit like going on a "roller coaster". From the Korean rap (!) with a Japanese twist in "Undercooled," one moves to the more intense and claustrophobic electronics, closely related to that of Autechre, in "Coro." From the ambient-minimalist avant-garde of the title track, one proceeds to the reassuring collaboration with his close friend David Sylvian, who with "World Citizen" creates, as is usual, a memorable song. Nor can we miss a "slowdown" with the beloved "Brazilian flair" in "Ngo Bitmix," a perfect marriage of classicism and innovation. But perhaps the peak of the album is "Seven Samurai," a track filled with nostalgia and highly evocative, a tribute to the great Kurosawa; a potential soundtrack for the homonymous masterpiece that Ryuichi offers to the memory of the Master. With this album, Sakamoto continues unyielding on his path, indifferent to those who accuse him of being too scattered, to those who criticize his ventures into the "underworld" of popular music. In his holistic and panicky vision of music, he knows he cannot betray any of his souls.