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Released = 1981 |
Released = 1981 |
Recorded = |
Recorded = |
Genre = [[Electronic music|Electronic]] ([[Electronic dance music|dance]], [[Electro music|electro]], [[Techno|proto&#8209;techno]], [[Electronic rock|rock]])<br>[[Experimental music|Experimental]] ([[art&nbsp;rock]], [[Avant-garde music|avant&#8209;garde]])<br>[[New Wave music|New&nbsp;Wave]], [[Synthpop]]<br>[[Urban contemporary|Urban]]&nbsp;([[Contemporary R&B|R&B]]), [[World music|World]]&nbsp;([[gamelan]],&nbsp;[[kecak]]) |
Genre = [[Electronic music|Electronic]] ([[Electronic dance music|dance]], [[Electro music|electro]], [[Techno|proto&#8209;techno]], [[Electronic rock|rock]]), [[Experimental music|Experimental]] ([[art&nbsp;rock]], [[Avant-garde music|avant&#8209;garde]]), [[New Wave music|New&nbsp;Wave]], [[Synthpop]], [[Urban contemporary|Urban]]&nbsp;([[Contemporary R&B|R&B]]), [[World music|World]]&nbsp;([[gamelan]],&nbsp;[[kecak]]) |
Length = 43:29 |
Length = 43:29 |
Label = [[Alfa Records]] |
Label = [[Alfa Records]] |
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'''''Technodelic''''' is the fifth studio album by [[Yellow Magic Orchestra]]. The album is notable for its heavy use of [[sampler (musical instrument)|samplers]] which were not commonly used until the mid to late 80's, resulting in a more minimalist and experimental sound compared to their previous work.
'''''Technodelic''''' is the fifth studio album by [[Yellow Magic Orchestra]], released in 1981. The album is notable for its [[Experimental music|experimental]] and heavy use of [[sampler (musical instrument)|samplers]] which were not commonly used until the mid-to-late 1980s, resulting in a more [[Minimalistic music|minimalist]] sound compared to their previous work.


It is considered the first released album to feature mostly [[Sampling (music)|samples]] and [[Loop (music)|loops]], influencing the heavy use of sampling and looping in [[popular music]].<ref>{{cite web|last=Carter|first=Monica|title=It’s Easy When You’re Big In Japan: Yellow Magic Orchestra at The Hollywood Bowl|work=The Vinyl District|url=http://www.thevinyldistrict.com/losangeles/2011/06/it%E2%80%99s-easy-when-you%E2%80%99re-big-in-japan-yellow-magic-orchestra-at-the-hollywood-bowl/|accessdate=22 July 2011|month=June 30|year=2011}}</ref> Yellow Magic Orchestra's approach to sampling music was a precursor to the contemporary approach of constructing music by cutting fragments of sounds and looping them using [[Computer music|computer technology]].<ref name="condry_59">{{cite book|last=Condry|first=Ian|title=Hip-hop Japan: rap and the paths of cultural globalization|year=2006|publisher=[[Duke University Press]]|isbn=0822338920|url=http://books.google.co.uk/books?id=37QWE3yRY-4C&pg=PA59|accessdate=12 June 2011|page=60}}</ref>
Most of the [[Sampling (music)|sampling]] was made with an LMD-649 - a hand-made sampler developed by [[Toshiba-EMI]] [[sound engineer|engineer]] Kenji Murata, and a much cheaper alternative to the [[Linn LM-1]] drum machine and [[Fairlight CMI]] sampling synthesizer available at the time. Notable samples used include [[Indonesia]]n [[kecak]] chanting (Neue Tanz), [[gamelan]] and short looped vocals ("paa", "fuku", "chiki") for percussion in Seoul Music, and the final two tracks feature factory noises. The album also features use of speech through a [[two-way radio]], a [[prepared piano]], [[Prophet-5]] synthesizers and a [[TR-808]] drum machine. In another departure from previous albums, [[Haruomi Hosono]] has a more prominent role playing the bass guitar as opposed to playing bass lines on synthesizers (this trend appears again on the album [[Service (album)|Service]]).

==Production==
Most of the [[Sampling (music)|sampling]] was made with an LMD-649 - a hand-made sampler developed by [[Toshiba-EMI]] [[sound engineer|engineer]] Kenji Murata, and a much cheaper alternative to the [[Linn LM-1]] [[drum machine]] and [[Fairlight CMI]] sampling [[synthesizer]] available at the time. Notable samples used include [[Music of Indonesia|Indonesian]] [[kecak]] chanting (Neue Tanz), [[gamelan]] and short looped vocals ("paa", "fuku", "chiki") for percussion in Seoul Music, and the final two tracks feature factory noises. The album also features use of speech through a [[two-way radio]], a [[prepared piano]], [[Prophet-5]] synthesizers, and a [[TR-808]] drum machine. In another departure from previous albums, [[Haruomi Hosono]] has a more prominent role playing the [[bass guitar]] as opposed to playing [[bass line]]s on synthesizers (this trend appears again on the album ''[[Service (album)|Service]]'').


As with many of YMO's releases, song titles are printed in both [[Japanese language|Japanese]] and [[English language|English]]. For "Seoul Music", the kanji "京城" are used, referring to [[Gyeongseong]] (경성; known as Keijou in Japan), the name of [[Seoul]] when [[Korea]] was [[Korea under Japanese rule|under Japanese rule]]. "灯" simply translates to "Light". "Neue Tanz" is [[German language|German]] for "New Dance", while "Taisō" is Japanese for "[[gymnastics]]" or "[[calesthenics]]".
As with many of YMO's releases, song titles are printed in both [[Japanese language|Japanese]] and [[English language|English]]. For "Seoul Music", the kanji "京城" are used, referring to [[Gyeongseong]] (경성; known as Keijou in Japan), the name of [[Seoul]] when [[Korea]] was [[Korea under Japanese rule|under Japanese rule]]. "灯" simply translates to "Light". "Neue Tanz" is [[German language|German]] for "New Dance", while "Taisō" is Japanese for "[[gymnastics]]" or "[[calesthenics]]".
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*[[Peter Barakan]]: [[Lyrics]] (also radio voice in "Pure Jam")
*[[Peter Barakan]]: [[Lyrics]] (also radio voice in "Pure Jam")
*[[Hideki Matsutake]]: Technical assistance
*[[Hideki Matsutake]]: Technical assistance

==Notes==
{{reflist}}


==References==
==References==

Revision as of 15:40, 22 July 2011

Untitled

Technodelic is the fifth studio album by Yellow Magic Orchestra, released in 1981. The album is notable for its experimental and heavy use of samplers which were not commonly used until the mid-to-late 1980s, resulting in a more minimalist sound compared to their previous work.

It is considered the first released album to feature mostly samples and loops, influencing the heavy use of sampling and looping in popular music.[1] Yellow Magic Orchestra's approach to sampling music was a precursor to the contemporary approach of constructing music by cutting fragments of sounds and looping them using computer technology.[2]

Production

Most of the sampling was made with an LMD-649 - a hand-made sampler developed by Toshiba-EMI engineer Kenji Murata, and a much cheaper alternative to the Linn LM-1 drum machine and Fairlight CMI sampling synthesizer available at the time. Notable samples used include Indonesian kecak chanting (Neue Tanz), gamelan and short looped vocals ("paa", "fuku", "chiki") for percussion in Seoul Music, and the final two tracks feature factory noises. The album also features use of speech through a two-way radio, a prepared piano, Prophet-5 synthesizers, and a TR-808 drum machine. In another departure from previous albums, Haruomi Hosono has a more prominent role playing the bass guitar as opposed to playing bass lines on synthesizers (this trend appears again on the album Service).

As with many of YMO's releases, song titles are printed in both Japanese and English. For "Seoul Music", the kanji "京城" are used, referring to Gyeongseong (경성; known as Keijou in Japan), the name of Seoul when Korea was under Japanese rule. "灯" simply translates to "Light". "Neue Tanz" is German for "New Dance", while "Taisō" is Japanese for "gymnastics" or "calesthenics".

Track listing

Side one
No.TitleLyricsMusicLength
1."Pure Jam" (ジャム; "Jam")Yukihiro Takahashi,
Peter Barakan
Takahashi4:30
2."Neue Tanz" (新舞踊; "Shin buyou")Yellow Magic OrchestraYellow Magic Orchestra4:58
3."Stairs" (階段; "Kaidan")Takahashi, BarakanTakahashi4:14
4."Seoul Music" (京城音楽; "Keijou ongaku")Ryuichi Sakamoto, Takahashi, BarakanSakamoto, Takahashi4:46
5."Light in Darkness" (灯; "Tomoshibi") Takahashi, Sakamoto3:40
Side two
No.TitleLyricsMusicLength
1."Taiso" (体操; "Taisō")Yellow Magic OrchestraYellow Magic Orchestra4:21
2."Gradated Grey" (灰色の段階; "Grey no dankai")Haruomi HosonoHosono5:33
3."Key" (手掛かり; "Tegakari")Hosono, Takahashi, BarakanHosono, Takahashi4:32
4."Prologue" (前奏; "Zensou") Sakamoto2:31
5."Epilogue" (後奏; "Kousou") Sakamoto4:21

Personnel

Notes

  1. ^ Carter, Monica (2011). "It's Easy When You're Big In Japan: Yellow Magic Orchestra at The Hollywood Bowl". The Vinyl District. Retrieved 22 July 2011. {{cite web}}: Unknown parameter |month= ignored (help)
  2. ^ Condry, Ian (2006). Hip-hop Japan: rap and the paths of cultural globalization. Duke University Press. p. 60. ISBN 0822338920. Retrieved 12 June 2011.

References