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Yellow Magic Orchestra|BGM (2019 Bob Ludwig Remastering)

BGM (2019 Bob Ludwig Remastering)

Yellow Magic Orchestra

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BGM stands for "background music," and one could be mistaken for thinking that this is an album of ambient-sounding tracks. Instead, it's a continuation of YMO's techno aesthetic, focusing more on Takahashi's distorted vocals and similarly liquid synth sounds, which give much of the album a melancholic air. There's also the sense of a group rushing to put out another album (close on the heels of Xoo Multiplies). One of Sakamoto's efforts ("1000 Knives") comes from his 1978 solo album, revisited here as a twisted blurp of an instrumental; the other ("Happy End") is all atmosphere and no substance. And YMO's attempt to understand rap ("Rap Phenomena") is as plodding as it is embarrassing. However, there are some standout tracks on side two: "Cue" by Hosono and Takahashi is a very assured ballad, given sufficient frisson by its galloping synth line and strangely programmed drums; "U•T" is a Kraftwerk-ian instrumental charged with menace and speed; and "Loom" finally gets to a calm resting place of dripping water, floating electronics, and a Eno-esque atmosphere. If only the first half was a good as the second.

© Ted Mills /TiVo

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BGM (2019 Bob Ludwig Remastering)

Yellow Magic Orchestra

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1
Ballet (2019 Bob Ludwig Remastering)
00:04:34

Yukihiro Takahashi, Composer - Yellow Magic Orchestra, Arranger, MainArtist, AssociatedPerformer - Peter Barakan, Lyricist - Yukihiro Takahshi, Lyricist

(P) 1981 ALFA MUSIC, INC.

2
Music Plans (2019 Bob Ludwig Remastering)
00:04:33

Ryuichi Sakamoto, Composer, Lyricist - Yellow Magic Orchestra, Arranger, MainArtist, AssociatedPerformer - Peter Barakan, Lyricist

(P) 1981 ALFA MUSIC, INC.

3
Rap Phenomena (2019 Bob Ludwig Remastering)
00:04:32

Yellow Magic Orchestra, Arranger, MainArtist, AssociatedPerformer - Haruomi Hosono, Composer, Lyricist - Peter Barakan, Lyricist

(P) 1981 ALFA MUSIC, INC.

4
Happy End (2019 Bob Ludwig Remastering)
00:04:32

Ryuichi Sakamoto, Composer - Yellow Magic Orchestra, Arranger, MainArtist, AssociatedPerformer

(P) 1981 ALFA MUSIC, INC.

5
1000 Knives (2019 Bob Ludwig Remastering)
00:05:22

Ryuichi Sakamoto, Composer - Yellow Magic Orchestra, Arranger, MainArtist, AssociatedPerformer

(P) 1981 ALFA MUSIC, INC.

6
Cue (2019 Bob Ludwig Remastering)
00:04:32

Yukihiro Takahashi, Composer, Lyricist - Yellow Magic Orchestra, Arranger, MainArtist, AssociatedPerformer - Haruomi Hosono, Composer, Lyricist - Peter Barakan, Lyricist

(P) 1981 ALFA MUSIC, INC.

7
U T (2019 Bob Ludwig Remastering)
00:04:33

Ryuichi Sakamoto, Composer - Yukihiro Takahashi, Composer - Yellow Magic Orchestra, Arranger, MainArtist, AssociatedPerformer - Haruomi Hosono, Composer

(P) 1981 ALFA MUSIC, INC.

8
Camouflage (2019 Bob Ludwig Remastering)
00:04:34

Yukihiro Takahashi, Composer - Yellow Magic Orchestra, Arranger, MainArtist, AssociatedPerformer - Peter Barakan, Lyricist - Yukihiro Takahshi, Lyricist

(P) 1981 ALFA MUSIC, INC.

9
Mass (2019 Bob Ludwig Remastering)
00:04:31

Yellow Magic Orchestra, Arranger, MainArtist, AssociatedPerformer - Haruomi Hosono, Composer, Lyricist - Peter Barakan, Lyricist

(P) 1981 ALFA MUSIC, INC.

10
Loom (2019 Bob Ludwig Remastering)
00:05:20

Ryuichi Sakamoto, Composer - Yukihiro Takahashi, Composer - Yellow Magic Orchestra, Arranger, MainArtist, AssociatedPerformer - Haruomi Hosono, Composer - Hideki Matsutake, Composer

(P) 1981 ALFA MUSIC, INC.

Presentación del Álbum

BGM stands for "background music," and one could be mistaken for thinking that this is an album of ambient-sounding tracks. Instead, it's a continuation of YMO's techno aesthetic, focusing more on Takahashi's distorted vocals and similarly liquid synth sounds, which give much of the album a melancholic air. There's also the sense of a group rushing to put out another album (close on the heels of Xoo Multiplies). One of Sakamoto's efforts ("1000 Knives") comes from his 1978 solo album, revisited here as a twisted blurp of an instrumental; the other ("Happy End") is all atmosphere and no substance. And YMO's attempt to understand rap ("Rap Phenomena") is as plodding as it is embarrassing. However, there are some standout tracks on side two: "Cue" by Hosono and Takahashi is a very assured ballad, given sufficient frisson by its galloping synth line and strangely programmed drums; "U•T" is a Kraftwerk-ian instrumental charged with menace and speed; and "Loom" finally gets to a calm resting place of dripping water, floating electronics, and a Eno-esque atmosphere. If only the first half was a good as the second.

© Ted Mills /TiVo

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