After World War II, the Japanese lifestyle became heavily influenced by Western technology and culture. Fascinated by what came along from an exotic outside, many musicians were simply reproducing what was new to them.
During the Seventies, however, artists are rediscovering Japanese music traditions. By blending aspects of those with their own preferences, something truly new evolves. 48-minute program with works by Akio Suzuki, Haruomi Hosono, Jun Togawa Unit, Toshi Ichiyanagi, and more, realized between 1969 and 2000.
Only 4 of the 10 tracks are on Spotify.
A slightly extended version of this program for Laura Not‘s series Sounds Unsaid on dublab radio was 38th in Mixcloud‘s global folk chart, 42nd in the global experimental chart and 84th in the global ambient chart.
Akio Suzuki – Taka No
cosmic eternity as background for traditional Japanese flute sounds (2000, and/OAR)
Toshi Ichiyanagi – Electric Chant
electronic sounds as special backdrop for praising the Tenno (1969, Bridge)
Eitetsu Hayashi – Cosmos
Japan’s national instrument Koto being played along with the Korean gayageum and a piano (1983, Victor)
Geinoh Yamashirogumi – Doll’s Polyphony
from the soundtrack to the animated post-apocalyptic cyberpunk film Akira (1988, Invitation)
Osamu Kitajima – Benzaiten: God Of Music And Water (Reprise)
melding ancient Japanese instruments with 70’s prog influences (1976, Island)
Haruomi Hosono – Down To The Earth
music for ballet, putting traditional Japanese drums in an electronic context (1984, Monad)
Hanadensha – Spiritual
soundtrack for an imaginary movie (1995, WEA Japan)
Jun Togawa Unit – Umi Yakara
Okinawan folk song (1985, Yen Records)
Noizunzuri – Figure & Ground
traditional folk song, avant-rock style (1985, Telegraph Records)
Ryuichi Sakamoto – Das neue japanische elektronische Volkslied
the new Japanese electronic folk song (1978, Better Days)