Posts Tagged ‘yodaka’

(Not for people who dislike ambient/experimental/electronic music.
And there’s close to no information on Kashiwa Daisuke online God damn it.

Shush Ariel, not everyone is as hipster as y---DAMN IT I'M ONE TOO!

You know when there’s this really obscure or quite unknown artist you think people should know better? Well, there you have, a great, artistic mind when it comes to composing songs. Born in Hiroshima, Daisuke started out in 2001, as a guitarist and composer for Tokyo-centered “yodaka”, which used to be a Post-rock, Electronic act, but then disbanded. Slightly later, by 2004, he went solo and toured Germany through 2005. Which doesn’t seem like much, granted, until the year of 2006, when he released his first album, april.#02, shortly followed by april.#07, which consists of the same album, but remixed (with help from olive oil and Takeshi Nishimoto).

From his album, you’d expect something way more aggressive, or at least close to “normal” when we think about his past genres, but thenyou listen to musics like this one (the first music I ever heard from him, actually), Rabbit’s Quartet:

We all can name countless works that join Post-rock and Electronic music, Kashiwa Daisuke’s composition itself is something impressive, to say the least. How he proceeds, though, specifically on this one –starting with rain sounds, piano high notes, quickly introducing deeper ones and followed by a violin and a string of harmonious beats-, is amusing. Quite sadly, this is the only actual song that makes any actual sense (from a style point of view), since the rest of his musics from this album are kinda halted by arrhythmic sounds (like Do Re Me?, which even has a dog’s bark, not complaining though). However, april.#02, overall, is a really good work.

Moving on, Daisuke released his (commonly considered) masterpiece, Program Music I. Although it only has two musics in it, Stella and Write Once, Run Melos, it’s an excellent album, if not his best work so far! It has more rhythm, makes more sense and it’s not as spastic as the last one (but I can’t say that for the second music, which’s a tad more random and erratic than the first one).

Here, if you feel curious for about ~36 minutes, you can listen to Stella:

Listening to this again after a long, long time, I thought to myself that I wouldn’t last the first five minutes. As of now, I’m fifteen minutes in and I’m craving for more. Granted, you can’t look at Daisuke’s music without being open-minded or without, at least, liking this genre in the first place.

And then comes the second music, ~26 minutes, Write Once, Run Melos.

See what I mean with “more erratic”? It gets a nice rhythm after a few minutes, but then that gets distorted. Nevertheless, this is –as already stated tons of times– an incredible album! Truthfully worthy of the expectations placed upon Daisuke’s shoulders, who started to be viewed as one of the biggest and most promising Electronic composers so far. Now, moving on after this release, he walked in a new direction with 5 Dec., not to say this is entirely bad, but let’s just say he tried on a bit too much, going on farther than what was expected, thus making the whole experience sound a little… Odd. Not quite so, it’s still a good work, but… Here:

In Requiem you can notice a bigger use of voice fragments and, although not awful, they do break a little bit from what one of his regular listeners would be used. Then again, one can never stop being surprised by Daisuke’s sheer creative power.
At least, as always, in my humble opinion.

(I own none of the pictures/music/videos above)

Signing off, at home, due to a mysterious chain of events,

Arthur Müller.


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