Yellow Magic Orchestra were unique, and they are, still. BGM is not really an album of songs, it is really an album of instrumental pieces and 'soundscapes', partly instrumental and some with vocals, and some with fragments of singing and spoken words. Yellow Magic Orchestra - BGM (2019) Hi-Res Hi-Res 24 bit / Pop / Electronic / Club Today, 11:52 11 0 Musicland All albums Yellow Magic Orchestra Quality: FLAC 24 bit / 96 kHz (Tracks).
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Japanese electropop band, formed in 1978.The principal members are Haruomi Hosono (bass), Yukihiro Takahashi (drums) and Ryuichi Sakamoto (keyboards).The band was originally conceived as a one-off studio project by Hosono, the other two members being recruited session musicians - the idea was to produce an album fusing orientalist exotica (cf their cover version of Martin Denny's Firecracker) with modern electronics. However the first album (with its cutting-edge production) was very popular, and the studio project grew into a fully fledged touring band and career for its three members.Making abundant use of new synthesizers, samplers, digital and computer recording technology as it became available, their popularity and influence extended beyond Japan. Generally the band are highly regarded as pioneers of electronic music, and continue to be remixed and sampled by modern artists.The band had stopped working together by 1984, the three members returning to their solo careers. They released a one-off reunion album, Technodon, in 1993.The early 2000s saw Hosono & Takahashi reunited in a project called Sketch Show. On a number of occasions Ryuichi Sakamoto has joined in on Sketch Show performances and recording sessions.
He later proposed they rename the unit 'Human Audio Sponge' when he participates. My opinion: Not the Japanese Kraftwerk. Their use of melodic layering and complex musical compositions were antithetical to the cold and minimal nature of most of Kraftwerk's oeuvre. Many of their songs have a sense of levity about them, displaying either a joy in the creative process of musical experimentation, or just plain silliness (as in their work with Snakeman Show.) Of course, I find it insultingly reductive to say that such a prolific genre-bending musical group is nothing more than a 'version' of another group. But to compare YMO to Kraftwerk is to ignore the entire concept of musical composition and complexity in order to focus on a singular surface-level observation: they both use synthesizers.