As a direct response to Kraftwerk's stark vision of the digital hereafter, Sakamoto's Yellow Magic Orchestra were more of a acknowledgment of the synth ethic as a whole than a logical progression to the form. And with the probable exception of "Tighten Up," their near-gimmicky futurist affirmations won a limited number of converts.
But on his lonesome, Sakamoto has proven to be a composer of more than considerable eloquence. Having been tagged for film scores (and snagging an Oscar for his efforts) and other projects of sometimes Olympic proportions (he was the stylish Japanese fellow conducting the opening ceremonies at Barcelona), his music can veer from the tightly melodic and accessible to the expansive and meditative.
Apparently born out of something of a mid-life crisis, Smoochy is a suave culmination of many of the intuitions, influences, and musical affinities that Sakamoto has acquired over time. And while ultimately casting himself as the consummate urban musician is no new guise, Ryuichi exercises so much aplomb here in how he solidifies that vibe, this record may turn out to be one defining moments of his catalogue.
From the trip-hop-ish opener "Bibo No Aosora" to the breezy samba-futurisms of "Aishiteru, Aishitenai" and onward to the electro-island-skank of "Poesia," Sakamoto blends styles and modes with the deft skills of an upscale sonic barkeep. With all the subtle particulars in place and the lush passages as well, Sakamoto conjures much that can be considered exquisite listening. With Kraftwerk now long dormant, and their ghosts mutated into the techno-jungle cum electronica muddle, Sakamoto succeeds in exhuming what soulful and warm possibilities the Germans sidestepped while programming their revelations.
