Ryuichi Sakamoto

BitStar ID: 137870
最終更新日: 2026/02/11

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Ryuichi Sakamoto

フォロワー数ランキング: 2,456 位

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先週比:147

432,892人

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関連都道府県

SKMT | dig 🌕 Life, Life from async (2017) Listen via link in bio 🔗 Following his cancer diagnosis in 2014, Sakamoto scrapped all the work he had begun creating his first solo album in 8 years. After completing treatment, he returned from hiatus and approached the album with a clean slate, which would become the acclaimed album 'async.' Motivated by "a desire to truly hear the sound of things—everyday things," Sakamoto set about collecting recordings of objects and ambient noises from the environment: "When I was looking for objects to record, I remembered seeing the Baschet Brothers' sound sculptures at the Osaka Expo in 1970. I found them in a university building in Kyoto, and on a hot summer day, they let me record the sculptures in the sweltering heat amidst echoes of cicadas". The recordings Sakamoto captured in Kyoto, 2016, found their way into several songs on 'async', including the meditation on mortality, 'Life, Life' with Arseny Tarkovsky's poetry read by his good friend David Sylvian. For the World Expo 2025, returning to Osaka, sakamotocommon is launching a series of exhibitions and installations at "VS.," a newly opened space in Umeda, Osaka. The exhibition will feature the Baschet sound sculptures originally shown at Expo '70 and newly created instruments crafted by the Baschet Restoration Team at Tokyo University of the Arts—made especially for Sakamoto. The exhibition will also premiere 'Ryuichi Sakamoto: Playing the Baschet' in 360 Reality Audio—a rare recording of Sakamoto performing on Baschet sound sculptures in the final years of his life. https://vsvs.jp/en/exhibitions/sakamotocommon-osaka (link in bio) Baschet photo by Ryuichi Sakamoto, 2016 #skmtnews #skmtdig #ryuichisakamoto #lifelife #async #baschet

2025/08/09に公開- 指定なし

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Repost • @hajimechitose.official   「死んだ女の子」は原爆の火に焼かれてしまった女の子の悲しみ、嘆きを歌った反戦歌。元ちとせは2005年のリリース以来、坂本龍一のアレンジ・プロデュースによりこの曲を発表し、以降、平和への思いを込めて歌い続けてきました。 Listen: https://lgp.lnk.to/mASZ6g Watch via link in bio 🔗 . “Dead Girl” is an anti-war song that sings of the sorrow and grief of a girl who was burned by the atomic bomb fire. In 2005, Hajime Chitose released this song with arrangement and production by Ryuichi Sakamoto, and has continued to sing it with thoughts of peace ever since. . 8/9（土）19:30〜生放送 📺NHK「MUSIC GIFT 2025〜あなたに贈ろう希望の歌〜」  「MUSIC GIFT 2025」では坂本龍一さんのピアノと一緒に歌います。戦後80年の今、改めて一人ひとりが平和について考えるきっかけになってほしいという願いを込めてお届けしますので、ぜひご覧ください。 https://www.nhk.or.jp/music/ @nhk_kouhaku #NHK_MUSICGIFT   #坂本龍一 #元ちとせ #死んだ女の子 #antiwar #deadgirl #nowar #hiroshima #nagasaki

2025/08/07に公開- 指定なし

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https://robertwilson.com/news      . Robert Wilson performed in “LIFE a ryuichi sakamoto opera 1999.” Ryuichi composed music for Robert Wilson’s “THE DAYS BEFORE : Death, Destruction and Detroit III.”  #robertwilson

2025/08/01に公開- 指定なし

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Apichatpong Weerasethakul’s VR piece, “A Conversation with the Sun” will be showcased in Taiwan! A Conversation with the Sun By Apichatpong Weerasethakul Music by Ryuichi Sakamoto Date: November 21st (Fri) to November 23rd (Sun) 2025 Venue: Playhouse at National Taichung Theater, Taiwan Please visit link in bio 🔗 “Apichatpong dedicates this work to the late Ryuichi Sakamoto in a heartfelt tribute to the legendary musician. Their dialogue across time and space continues to echo through the piece.” #skmtnews #ApichatpongWeerasethakul #ryuichisakamoto #VR

2025/07/31に公開臺中國家歌劇院 National Taichung Theater 台湾

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SKMT | dig 🌑 Rage (2017) by Ryuichi Sakamoto Listen via link in bio 🔗 Commentary by Director Lee Sang-il about “Rage” Melody tends to connect with emotions, so rather than having the audience directly experience what the characters are feeling, we were trying to express in sound those unconscious layers that people don’t even know they have. There’s an orchestra that eventually comes in, but synth sounds, and really Sakamoto-san has so many different techniques at his disposal to express in a deeply profound way. When I visited his studio in NY, there were instruments everywhere - sounds from all different countries. All of these elements keep emerging, layering deeper and deeper, and I thought, “Ah, I said ‘unconscious’, but this is how he actually constructs it” - that was truly astonishing. Of course, as the story progresses toward the end, music with distinct melodies that broaden the emotional scope does come in, but the depth of those layers - the way sounds keep accumulating and creating this expanding world - is truly one of a kind. . Sakamoto-san gave me a gentle rebuke early on. Initially, I had him compose the main theme for the final scene. The way he could so brilliantly transform the concept of “rage” lurking beneath resignation into music left me trembling with emotion. However, I wanted to use this piece in a different scene. When I nervously suggested this, he erupted in fury. Even through a computer screen between NY and Tokyo, his intensity was palpable. I mustered all my courage to give a thorough explanation to Sakamoto-san, someone I had long dreamed of working with. As we talked, I realized that he was deeply invested, and I felt overwhelmingly happy about that. Despite being scolded, “rage” went to the climax, and the final scene needed a new theme. The concept that stands opposite to rage is trust. Incidentally, after “rage” and “trust,” the title he gave to the end credit title was “forgiveness.” Ryuichi Sakamoto transcends every limit. I can’t help but feel that way. Translated from Radio Sakamoto & commmons’ 10 favorites Photo © 2016 Ikari Production #skmtnews #ryuichisakamoto #rage #ikari #leesangil

2025/07/25に公開- 指定なし

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https://rockinon.com/news/detail/212733.amp

2025/07/24に公開- 指定なし

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sakamotocommon OSAKA 1970/2025/OSAKA/RYUICHI SAKAMOTO In 1970, Sakamoto encountered a vast array of music and art at Expo ‘70 in Osaka. From the national pavilions echoed avant-garde electronic sounds rooted in atonality—Tōru Takemitsu’s Crossing and Seasons, Yuji Takahashi’s Egan, and Jōji Yuasa’s Music for Space Projection. Karlheinz Stockhausen performed “Spiral” daily in a spherical auditorium. The Pepsi Pavilion presented the world premiere of Fujiko Nakaya’s fog sculptures, while Iannis Xenakis created Hibiki-Hana-Ma for the Steel Pavilion, which also featured sonic sculptures by François Baschet. These experiences would leave a lasting imprint on Sakamoto—becoming a conceptual spine for his lifelong exploration of sound. In 2016, Sakamoto was able to perform and record with the original Baschetsound sculptures from Expo ‘70, weaving their unique timbres into his own compositions. These experiments culminated in his album “async”, and echoed once more in TIME. The exhibition will feature the Baschet sound sculptures originally shown at Expo ‘70, along with newly created instruments crafted by the Baschet Restoration Team at Tokyo University of the Arts and Marti Ruiz —made especially for Sakamoto. In addition, using performance data from Sakamoto—offering a quiet echo of the hands that once shaped its sound. Ryuichi Sakamoto + Shiro Takatani, LIFE—fluid, invisible, inaudible... Ryuichi Sakamoto: Playing the Piano 2025 - D Baschet sound sculptures Ryuichi Sakamoto, on async Ryuichi Sakamoto + Zakkubalan, async–volume Ryuichi Sakamoto + Apichatpong Weerasethakul, async–first light Apichatpong Weerasethakul, Durmiente “Ryuichi Sakamoto: Playing the Baschet”, “12” 360 Reality Audio Ryuichi Sakamoto Archive: 1970‐ Sakamoto Library – Extension Date: 2025.8.30 (Sat) – 2025.9.27 (Sat) Opening Hours: 10:00 AM - 8:00 PM Venue: VS. Advance online reservations required： Ticket Sales Begin: August 1, 10:00 AM More details via link in bio 🔗 #ryuichisakamoto #skmtnews #sakamotocommon_osaka #vsosaka

2025/07/20に公開VS. Osaka 日本大阪府

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sakamotocommon OSAKA　 1970/2025/大阪/坂本龍一坂本龍一が探し求めた、記憶、時間、音。 1970年、坂本龍一は大阪で何を見たのか。坂本龍一と大阪、知られざる接点がここに。坂本龍一、大阪で初の大規模企画展開催！ 1970年、大阪万博と坂本龍一 1970年、18歳の坂本龍一は、「人類の進歩と調和」をテーマに掲げた大阪万博で、多彩な音楽やアートに触れました。各パビリオンで流れる音楽の多くは、無調による前衛的な電子音楽でした。坂本が敬愛する武満徹の《クロッシング》《四季》や、小学生の頃から影響を受けた高橋悠治の《慧眼》、湯浅譲二の《スペース・プロジェクションのための音楽》、西ドイツ館ではカールハインツ・シュトックハウゼンが球形ホールで《Spiral》の連日公演を行っていました。また、「ペプシ館」では中谷芙二子による霧の彫刻、クセナキスが「鉄鋼館」のために《Hibiki Hana Ma（響き・花・間）》を制作し、同じ会場にはフランソワ・バシェの音響彫刻が展示されていました。これらの体験は、後の坂本の創作活動に深い影響を与えることになります。当時、注目を集め始めていたシンセサイザー電子音楽の世界も、坂本にとって大きな刺激となりました。坂本は2016年以降、1970年の大阪万博で展示されたバシェの音響彫刻を演奏・録音する機会を得て、その音を自身の作品に取り入れています。それらの試みは2017年のアルバム《async》に結実し、最晩年に制作した劇場作品《TIME》にも活かされました。 2025年、大阪万博と「sakamotocommon」 2025年、再び大阪で万博が開催されるこの年に、若き日の坂本が受けた刺激を、坂本が遺したものを共有化する試みとして始動した「sakamotocommon」を通じて次世代のクリエイターたちへ届けられないだろうか。その思いを込め、大阪・梅田に新しく誕生した空間「VS.（ヴイエス）」から発信します。本プロジェクトでは、1970年の大阪万博のために制作されたバシェの音響彫刻を展示するほか、東京藝術大学のバシェ修復プロジェクトチームが坂本のために制作した新たな音響彫刻も紹介します。また、坂本の演奏データをもとに、彼が愛用したグランドピアノで再生するプログラムも展開します。展示内容：坂本龍一 + 高谷史郎《LIFEーfluid, invisible, inaudible...》 Ryuichi Sakamoto: Playing the Piano 2025 - D バシェの音響彫刻坂本龍一　on async 坂本龍一 + Zakkubalan《async–volume》坂本龍一 + アピチャッポン・ウィーラセタクン《async–first light》アピチャッポン・ウィーラセタクン《Durmiente》坂本龍一『Ryuichi Sakamoto: Playing the Baschet』,『12』 360 Reality Audio 坂本龍一アーカイブ: 1970 － Sakamoto Library – Extension | 坂本図書分室会期：2025年8月30日(土) ～ 2025年9月27日(土) 時間：10:00 - 20:00（最終入場時間 19:30） ※会期中のイベント予定に応じて開館時間が変わることがあります。会場：VS.（大阪うめきたグラングリーン大阪内）オフィシャルサイト：https://vsvs.jp/exhibitions/sakamotocommon-osaka/ チケット：事前オンライン予約制　 8月1日（金）午前10:00～販売開始 ※日時指定枠に空きがある場合は、当日窓口にてチケットをご購入いただけます。チケット料金（税込）※（）＝当日窓口販売の料金・一般：2,200円（2,500円）・18歳以下：1,100円（1,100円※同額）※2026年3月31日までに19歳になる方も対象・大学生/専門学校生：1,800円（2,000円）・障がい者割引：1,100円　※同伴者1名まで同額・未就学児：無料　※予約不要 ※特別料金を適用される方は各種証明書をお持ちください（18歳以下：年齢を証明できるもの、大学生専門学校生：学生証、障がい者割引：障がい者手帳） ※購入後の変更、キャンセル、払い戻しは不可となっております。 #坂本龍一 #ryuichisakamoto #skmtnews #わたしが知らない坂本龍一 #sakamotocommon_osaka #vsosaka

2025/07/20に公開VS. Osaka 日本大阪府

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Repost • @commmons_official 坂本龍一サウンドトラック4作品、リリース決定！『天命の城』オリジナル・サウンドトラックアナログ盤（アンコールプレス）と初のCD形態が2025年9月24日に発売決定！ご予約：https://commmons.lnk.to/tenmeinoshiro オリジナル・サウンドトラック『SILK』初アナログ化！ 2025年10月29日に発売決定！ご予約：https://commmons.lnk.to/silk オリジナル・サウンドトラック『The Revenant（蘇えりし者）』アナログ盤アンコールプレスが 2025年11月26日に発売決定！ご予約：https://commmons.lnk.to/revenant 『Original Sound Track 一命 Harakiri - death of a samurai』初アナログ化！ 2026年3月11日発売決定！ご予約：https://commmons.lnk.to/ichimei また、坂本龍一のサウンドトラック作品を特集するcommmons特設サイトを公開しました！今後もさらなる作品やコンテンツが随時追加予定です🎹 https://commmonsmart.com/pages/musicforfilms2025  . Upcoming Releases of Four Ryuichi Sakamoto Soundtracks! “The Fortress” Original Soundtrack Available on vinyl (encore pressing) and CD (1st edition from commmons) on September 24, 2025! Pre-order: https://commmons.lnk.to/tenmeinoshiro “SILK” Original Soundtrack First-ever vinyl release, coming on October 29, 2025! Pre-order: https://commmons.lnk.to/silk “Ichimei Harakiri - death of a samurai” Original Soundtrack First-ever vinyl release, coming on March 11, 2026! Pre-order: https://commmons.lnk.to/ichimei “The Revenant” Original Soundtrack Vinyl encore pressing available November 26, 2025! Pre-order: https://commmons.lnk.to/revenant We’ve also launched a dedicated website for Ryuichi Sakamoto’s film music catalog! Link in bio 🔗 . #ryuichisakamoto #坂本龍一 #musicforfilm #soundtrack #vinyl #filmscore

2025/07/19に公開- 指定なし

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Repost • @pitchfork Blonde Redhead’s Kazu Makino on her “out of this world” Perfect 10 #BlondeRedhead #MyPerfect10 #async #ryuichisakamoto @kazu.makino

2025/07/17に公開- 指定なし

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SKMT | dig 🌕 M20 - Trust from Rage (2017) Listen via link in bio🔗 Rage (怒り, Ikari) is a Japanese suspense mystery drama film directed by Lee Sang-il and based on Shuichi Yoshida’s mystery novel, following the same creative partnership behind their recent highly anticipated film ‘Kokuho (National Treasure).’* The film weaves together parallel narratives - the hunt for a murderer across three locations and the intimate examination of trust and human connection - creating a complex exploration of both mystery and the fragility of human relationships. “The request was for one theme, one motivational motif that would start out sounding like ‘distrust’ and gradually transform into ‘trust’ as the film progressed,” says Sakamoto. “What the director most wanted to explore was this human dynamic between distrust and trust - whether some form of love could emerge from that tension. It seems that’s where his focus was.” Through many exchanges with the director and his persistent creative demands, Sakamoto crafted music that masterfully captures the complex emotional depths of modern humanity. The melody repeats the same phrase while evolving gradually, enveloping the anger and grief that live within the film and transforming it into beautiful music. “This time, I went to Seattle to record the live string parts with the same musicians who played on ‘The Revenant.’ We got a really good sound and great performances. For ‘Rage,’ while it has elements similar to ‘The Revenant,’ I tried to create something with a broader range of listening possibilities. Since I have this work, I want to go up the stairs one by one, even if they’re small steps, so that’s how I approach it.” *’Kokuho’ is in theaters in Japan: https://kokuhou-movie.com #skmtnews #ryuichisakamoto #rage #ikari #leesangil #shuichiyoshida

2025/07/10に公開- 指定なし

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Repost • @potemkinefilms 𝐑𝐘𝐔𝐈𝐂𝐇𝐈 𝐒𝐀𝐊𝐀𝐌𝐎𝐓𝐎 | 𝐎𝐏𝐔𝐒 un film de Neo Sora 🇯🇵 🎹 En automne 2022, Ryuichi Sakamoto, atteint d’un cancer, n’a plus la force de se produire en concert. Seul au piano, sans public, il interprète vingt morceaux emblématiques, dont l’ordre scande sa vie d’artiste. Entouré de ses plus proches collaborateurs, il se livre comme jamais lors de cette ultime performance lui permettant de faire ses adieux. Un moment de grâce pour l’éternité. 𝐀𝐔 𝐂𝐈𝐍𝐄𝐌𝐀 𝐋𝐄 𝟑𝟎 𝐉𝐔𝐈𝐋𝐋𝐄𝐓 #ryuichisakamoto #sakamoto #furyo #bandeoriginale #documentaire #japon

2025/07/10に公開- 指定なし

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Repost • @commmons_official 【#坂本龍一 | 音を視る時を聴く展覧会公式図録】展覧会公式図録をcommmonsmartにて販売中です。海外発送にも対応しております。本展で撮り下ろした会場写真を数多く掲載。閉幕後も、展示空間を想起させる構成です。コラボレーション・アーティストからのコメントや、エッセイなども収録。【主な執筆者(50 音順)】論考：四方幸子、難波祐子、森山朋絵／寄稿：浅田彰、大竹伸朗、岡﨑乾二郎、千葉雅也、原瑠璃彦、福岡伸一、矢野優、李禹煥／対談：畠中実×松井茂 https://commmonsmart.com/en/products/ambk-20333 Ryuichi Sakamoto | seeing sound, hearing time Official Exhibition Catalog We offer international shipping. Format size: variable A4, Hardcover book Number of pages: 320 Texts: Japanese/English/Chinese Price: 6,490 yen (tax included) The catalogue includes numerous photographs of the exhibition space. It is structured to resemble the atmosphere of the exhibition, making it possible to re-experience the exhibition after closing. It also incorporates essays and comments from the collaborated artists. Main authors (Alphabetical order) Essays: Yukiko Shikata, Sachiko Namba, Tomoe Moriyama/ Contribution: Akira Asada, Shinro Ohtake, Kenjiro Okazaki, Masaya Chiba, Rurihiko Hara, Shinichi Fukuoka, Yutaka Yano, Lee Ufan/ Dialogue: Minoru Hatanaka×Shigeru Matsui. @skmtgram #skmtnews #音を視る時を聴く #私が知らない坂本龍一

2025/07/04に公開- 指定なし

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坂本龍一が残した本を共有するために作られた『坂本図書』。そんな坂本図書が毎月不定期で配信する無料のニュースレター「Sakamoto Library Newsletter」の最新号は、短期連載『scholaとは何だったのか？』vol.1 。スコラの企画立ち上げから深く携わっていた音楽評論家家小沼純一さんのインタービューです。坂本と共にスコラを編纂した小沼さんだからこそ知っている貴重な話しの数々、坂本がライフワークの一つとして取り組んだ『scholaとは何だったのか？』。坂本図書のニュースレターに登録してインタビュー全文をお楽しみください。プロフィール欄のリンクをご覧ください🔗 . 坂本图书为分享坂本龙一留下的书籍而设立。坂本图书每月不定期发布免费的电子报「Sakamoto Library Newsletter」，最新一期是短期连载《schola究竟是什么？》的第一回。内容是音乐评论家小沼纯一的访谈，他从项目启动阶段就深度参与了“schola”的企划。正因为是与坂本共同编撰“schola”的小沼先生，才能分享许多鲜为人知的宝贵故事——关于坂本作为人生志业之一所倾力投入的项目“schola”的细节。欢迎注册坂本图书的电子报，阅读访谈全文。 https://www.sakamoto-library.com/ (Newsletter是日文的。) . Sakamoto Library was created to share the books Ryuichi Sakamoto left behind. The latest issue of the free ‘Sakamoto Library Newsletter,’ distributed by Sakamoto Library irregularly each month, features the first volume of their short series “What was schola?”* The first episode includes a conversation with music critic Jun’ichi Konuma, who worked closely with Sakamoto to create the schola music education series. Konuma shares precious stories about “schola” - one of Sakamoto’s most important projects - that only he would know. Sign up for their newsletter to read the full interview via link in bio🔗 (The newsletter is written in Japanese) *"schola," launched by Ryuichi Sakamoto in 2008, was an educational project envisioned to cover all musical genres. It started with the CD book series "commmons: schola" and later expanded into the NHK Educational TV program "schola: Ryuichi Sakamoto School of Music" (2010-2013). The project emerged from Sakamoto's contemplation to share many years of his musical knowledge and discoveries with the next generation. This project continues to be cherished today, offering glimpses into what Ryuichi studied throughout his lifetime. @sakamotolibrary #skmtnews #坂本図書 #坂本图书 #sakamotolibrary #schola #坂本龍一 #小沼純一 #ryuichisakamoto #junichikonuma

2025/07/01に公開- 指定なし

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SKMT | dig 🌑 Hidariude no Yume (Left Handed Dream, 1981) by Ryuichi Sakamoto Listen via link in bio 🔗 Ryuichi Sakamoto’s “Left Handed Dream” emerged from pure creative instinct. “We created songs day by day,” Sakamoto recalls. “Not finished music, but starting with just a drum idea, then adding bass riffs, guitar riffs.” The recording process was deliberately unstructured - 13 pieces were recorded, with only 10 making the final album. “Whatever sounded interesting, we put it all in. We captured inspiration without hesitation. I wanted to move away from calculated music.” In contrast to Sakamoto’s previous album, “B-2 Unit”, which had, as he described, ‘descending energy’, “Left Handed Dream” aimed for ‘upward energy’. Sakamoto embraced contradictions in his artistic identity: “I couldn’t hide that I had a pop sensibility. Instead of rejecting it, I decided to let it flow naturally alongside my conceptual and free music tendencies.” The album featured diverse collaborators: Robin Scott and King Crimson’s guitarist Adrian Belew, Yukihiro Takahashi, percussionist Kiyohiko Semba (traditional Japanese music specialist), Robin Thompson (who studied with Stockhausen and played gagaku), and violinist Kaoru Sato from Kyoto’s new wave scene. This created a more “organic” sound compared to his previous electronic works. Most remarkably, Sakamoto included a piece made from monkey sounds - a collaboration with Shigesato Itoi for a TV program. “I’m fascinated by whether monkeys have music,” he explained. “They express themselves through sounds, screeching and hitting things.” The resulting collage, featuring “rhythm-backing monkeys and melody monkeys,” made it onto the album. This represented Sakamoto using his “brain as a tool” - letting everything emerge rather than suppressing elements as he had done previously. Full article available in Japanese: https://www.snrec.jp/entry/2020/04/30/120000 Photo:  ©MIDI Inc. #skmtnews #skmtdig #ryuichisakamoto #lefthandeddream #hidariudenoyume

2025/06/25に公開- 指定なし

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Yamaguchi Seasonal 2025  坂本龍一＋YCAM「Forest Symphony」  会期：2025年8月8日(金)〜11月30日(日) 会場：常栄寺開場時間：10:00〜16:30 休場日：火曜日(祝日の場合は翌日)、8月11日(月・祝)、9月24(水)、11月2日(日)・3日(月・祝) 入場料：無料(常栄寺の拝観料は別途必要)  . Yamaguchi Seasonal 2025  Ryuichi Sakamoto + YCAM “Forest Symphony” Period: August 8th, Friday - November 30th, Sunday Location: Joei-ji temple (Yamaguchi prefecture) Hour: 10:00 - 16:30 Closed: Tuesdays, Aug 11 (Mon/Holiday), Sep 24 (Wed), Nov 2 (Sun) & 3 (Mon/Holiday) Admission: Free (Requires Joei-ji temple admission)   #skmtnews  #ryuichisakamoto #坂本龍一 #YCAM #forestsymphony

2025/06/24に公開常栄寺雪舟庭園日本山口県

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SKMT | dig 🌕 Boku no Kakera (ぼくのかけら) from Left Handed Dream (1981) Listen via link in bio The opening track of Sakamoto’s third solo album marks a turning point. Built around taiko drums, gagaku instruments, Prophet-5 synthesizer, and the Roland TR-808, the piece moves with an open, unforced rhythm. Toward the end, Sakamoto’s quiet voice can be heard repeating: “あげるよぼくのかけら　ありがとうきみのかけら” (“This—a piece of me. Arigato—a piece of you.”) “Boku no Kakera” signals Sakamoto’s break from Western pop conventions. The album pursued what he called “festive music”—deliberately avoiding funk rhythms in favor of an indigenous percussive sound that abandons techno in search of something less codified, more fluid, and grounded in non-Western sensibilities. Recorded between Studio ‘A’ in Tokyo and Roundhouse Studio in London during the summer of 1981, “Left Handed Dream” was released in different versions for Japanese and international markets. #skmtdig #ryuichisakamoto #bokunokakera #lefthandeddream

2025/06/11に公開- 指定なし

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SKMT | dig 🌑 flumina (2011) By fennesz + sakamoto Listen via link in bio. The collaboration between Fennesz and Sakamoto started with an hour-and-a-half improvisation when they first met. In addition to the duo’s albums and live performances, Fennesz also participated as a guitarist on Sakamoto’s solo tours. Ryuichi talked about his sound in the past - (Translated excerpts from Ryuichi’s writing and interviews) “Originally, ‘cendre’ was started purely for our joy, so I wasn’t thinking about anything in particular. ‘Cendre’ is romantic overall, isn’t it? For the piano, I’m freely playing broadly in that area, from my own Romanticism to Impressionism. With Carsten (in comparison to collaboration with file exchange), I’m sending him material with the premise that he will cook it, and the musical time will be fragmented; it becomes a non-traditional flow of time. With Fennesz, he first sends 3-4 minute pad-like sounds. I loop that a few times and improvise piano over it. In that sense, when I play piano over pads Fennesz created, it’s linear time, even though the location is different. In that respect, it’s closer to traditional music.” “Among electronica artists, there are probably people who don’t read sheet music, but since he’s originally a guitarist, he’s incredibly sensitive to pitch. I think he might have perfect pitch. For example, he instantly matches the pitch perfectly, even when creating noise in response to the piano I’ve played. That ability is amazing. I don’t think there’s anyone else quite like that.” @_fennesz Photo by @giuseppe.laspada #skmtdig #skmtnews #ryuichisakamoto #fennesz #flumina

2025/05/28に公開- 指定なし

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「MOViE MOViE Life is Art 光影藝術祭2025」 6/6 - 29/6 現正售票中!  坂本龍一 | Playing the Orchestra 2014 Ryuichi Sakamoto | Playing the Orchestra 2014 15.6 (Sun), 5:00pm | PREMIERE ELEMENTS 22.6 (Sun), 3:00pm | MOViE MOViE Cityplaza . 坂本龍一：東京旋律（4K修復版） Tokyo Melody: A Film about Ryuichi Sakamoto (4K Restoration)  7.6 (Sat), 7:55pm | 百老匯電影中心 *15.6 (Sun), 5:15pm | PREMIERE ELEMENTS *設映後分享嘉賓：黃志淙（資深電台DJ、樂評人及策展人）購票即到 Get your tickets Link in Bio Repost • @moviemoviehk   #skmtnews #ryuichisakamoto #坂本龍一 #playingtheorchestra #tokyomelody  #MMFest #LIFEISART光影藝術祭 #香港首映

2025/05/24に公開- 指定なし

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Repost • @filmforumnyc ONE NIGHT ONLY! On Wednesday, May 28, the Young Film Forum (YFF) Archive Dive and @queerart present LOVE IS THE DEVIL, John Maybury’s mesmerizing 1998 FF premiere, starring Sir Derek Jacobi as Francis Bacon alongside Daniel Craig and Tilda Swinton. “Do I possess some inner destructive demon, or is it simply that love is the devil?” – Francis Bacon One of the 20th century’s greatest painters, Francis Bacon, was at the height of his celebrity during London’s swinging ‘60s. Jacobi (I, CLAUDIUS; HAMLET) gives a searing performance as the fiercely cruel artist whose passion for his work is nearly exceeded by his obsession with George Dyer (a pre-Bond Daniel Craig in a breakthrough role) — a darkly handsome petty thief who becomes his lover and the model for many of his most renowned paintings. Maybury, a close associate of Derek Jarman, recreates the British demi-monde of artists, rent boys, and bar flies who fed Bacon’s controversial, tortured artistic vision. THE YFF ARCHIVE DIVE is a new screening series curated from FF’s rich 54-year history of first-run premieres. The series introduces important, challenging works and underseen masterpieces to members in their 20s and 30s. Learn about YFF at filmforum.org/yff. This screening is open to the general public - tickets available now at filmforum.org #skmtnews #ryuichisakamoto #loveisthedevil #movie

2025/05/23に公開Film Forum アメリカ合衆国

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