Susumu Yokota Wait For A Day
Tracklist: 1. For The Other Self Who Is Far Away That I Can Not Reach, 2. A Slowly Fainting Memory Of Love And Respect, And Hatred, 3. The Loneliness Of Anarchic Beauty Achieved By My Ego, 4. A Heart-Warming And Beautiful Flower Will Eventually Wither Away And Become Dirt, 5. The Sin Of Almighty God, Respected And Believed By The Masses, 6.
Mother US Release: 2009-03-17 Label: Lo UK Release: 2009-02-23If I was 16 again, and trying to put the moves on a black-eye-mascara-blotched, Twilight-consuming graveyard girl, I’d definitely put a song from Susumu Yokota’s Mother on the mix tape I’d make for her, which may seem odd to say regarding an artist whose music is usually so ebullient and sweet. Yokota’s best work, or at least what seems like his best work (the man has put out something like a million albums) operates from an itinerary of clemency and childlike wonder. Even his most somber ambiences are rarely devastating. Rather, Yokota is more reflective or passive. It’s shy kid music, fantastically so.On Mother, he has graduated from juvenilia to the turbulence of adolescent and teenage angst, specifically a life turmoil spent drifting off into swarming shadows soundtracked by 4AD Records, and cluttered by scribbled poetry, Wiccan spell books, and a haze of opium.
By rough estimation, Yokota was likely on the edge of teendom when this kind of music first came around. So, it’s unsurprising that he’d wish to make an album that lingers about chronologically somewhere between This Mortal Coil’s It’ll End in Tears and Slowdive’s Just for a Day.
Loading, please wait. Categories Women Men Young Adult Kids Shoes Baby Home Patio & Garden Furniture Kitchen & Dining Toys Electronics Video Games Movies, Music & Books Sports & Outdoors Beauty Personal Care Health Household Essentials Pets Grocery Luggage School & Office Supplies Party Supplies Bullseye's Playground Clearance Holiday Shop. Susumu Yokota discography and songs: Music profile for Susumu Yokota, born 22 April 1960. Genres: Ambient, Downtempo, Electronic. Albums include Sakura, Grinning Cat, and Acid Mt.Fuji.
It’s just slightly surprising that his personality doesn’t rub off that hard on these entries, as it does throughout the rest of his exhaustive release schedule. Perhaps it’s because Mother seems like a producer’s album, Yokota’s entries merely being backdrop to a host of bright young guest stars.But Yokota denizens looking for an excuse to dye their fingernails black that extends beyond the pukey schmaltz of a certain aforementioned multimedia franchise need not dismiss this project altogether. There are a handful of mighty pretty pieces of free-floating ephemera about. Yokota plays Robin Guthrie to a host of Elisabeth Frasers (Nancy Elizabeth, Kaori, Caroline Ross, Our Broken Garden’s Anna Bronsted, the Chap’s Claire Hope). This means that despite notable appearances by Casper Clausen of Efterklang and Panos Ghikas of the Chap, Mother is heavy of the X chromosome.
That is to say, maternal.“A Flower White” would probably be the first cut for the mix tape, and it’s a decided departure in its institution of guitar as the base structure of the song, a motif that looms large over Mother. The sparseness recalls that whole mass of indie minor chord fetishization in the '90s, particularly motivated by Sonic Youth, with theremin-like high-pitched synth squabbles and pounding, ominous drums to boot.
It’s followed by “The Natural Process” and “Reflect Mind”, both flowing with gorgeous waves of ethereal sound, backwards-masked tape loops, and penetrating gaseous atmospherics. Lyrics are often sung like seraphic sirens through the forest and mist, the mothering of the title also possibly alluding to Mother Nature, particularly since we’re dealing with a more organic coven of sounds than usual here. And because of this rupture of words into wailing, the words themselves are often irrelevant.This suite represents the album’s biggest triumphs, but its surest weaknesses bookend the album. Opener “Love Tendrilises” attempts to capture a mood halfway between the gothic gutter and the stars above Yokomota’s latter-day Shibuya-kei peers like Pizzicato Five and Cornelius.
The song’s aboriginal drums and fluttering vocal backdrops are a step in the right direction, but there’s a sense that the song misrepresents the mood of the album. It’s almost like it’s trying to ease the listener into its moodiness with an un-slick segue. The cautiousness does not pay off. At the other end of the album, “Warmth” is a stately bit of ambient piano noodling, appropriately warm as its title suggests, but overall ineffectual.The lack of a solid beginning or end to Mother highlights the lack of precedent or connection to the Yokota catalogue. When he dives in and assumes full genre regalia, dressing up as James Duval from any given Gregg Araki film, Yokota and the listener win out. Yokota’s music could never really be characterized as urgent, or even prescient, but as a mimicry, it certainly trumps the revisionism Yokota lent to his awful recent cover of David Bowie’s “Golden Years”. Still, throughout the album in question, Yokota seems to be playing wise elder for his new friends, who get to assume the roles of the tortured teens.
Sekilas memang tak banyak perubahan yang bisa dilihat antara bagian luar X-Trail 2.0 dengan 2.5. Kalau dari belakang, Nissan memasang emblem 2.0 untuk membedakan mobil ini dengan varian di atasnya. Sementara dari samping, X-Trail termurah bisa dibedakan dari ukuran peleknya. X-Trail 2.0 memakai pelek 17-inci yang dibalut ban berukuran 225/65 R17. Nissan x trail 2.0 vs 2.5. Apr 24, 2019 The 2019 Nissan X-Trail facelift is now officially on sale, with four variants and three engine configurations to choose from. The 2.0L and 2.0L Mid both share the MR20DD 2.0 litre four-cylinder. Aug 19, 2010 Used X-trail 2.0 Vs 2.5 - posted in Nissan Owners Forum: Hi,I try to search thru this forum but cannot find much info about xtrail, anyone can share:1. The fuel consumption based on current fuel price - 2.0 & 2.5 model2. Maintenance cost for 2.0 and 2.53. Any difference between batch 2003 and 2005/06 model?4. Thing to look out when buying a 4WDThanks. Jan 26, 2015 Powering the new X-Trail, buyers will have the choice of a 2.0-litre 2WD and the top-of-the line 2.5-litre 4WD; both are 4-cyl DOHC 16-valve units with CVTC (continuously variable valve-timing control) but where the 2.0L churns out 144Ps, the 2.5L makes an impressive 177Ps. Both are mated to a ‘7-speed’ X-Tronic CVT gearbox.
For all the nurturing parenting Yokota offers his cadre of guests on Mother, one hopes he’s still got some regressive yearning left in him.
For most Western listeners, the standard gateway to Susumu Yokota's discography is Sakura, released in 1999 to a fair amount of critical acclaim in the North American and European music press. Sakura is a lush and mesmerising album, combining ambient soundscapes, samples, house-beats and occasional jazz to wonderful effect. This is an album of subtleties that rewards repeated listening (headphones are recommended), but there are obvious highlights as well, including the haunting 'Kodomotachi' (children), which samples Joni Mitchell's 'Songs To Aging Children Come' (1969). As good as Sakura is, it would be a mistake to confine oneself to this record alone. For many, the next logical stopping off points are Sakura's follow-up releases, 2001's Grinning Cat, and 2002's The Boy And The Tree. While both these albums undeniably feature moments of creative beauty, most notably 'Lapis Lazuli' and 'Secret Garden' respectively, I missed the same connection that came so easily with Sakura, and found these two to be largely disappointing. In the context of Yokota's full discography, for me the obvious successors to Sakura are 2003's Laputa, and 2010's Kaleidoscope.
These albums are two of Susumu's strongest electronic-ambient releases, and both demand to be listened to in their entirety. In this respect it is harder to list highlights for these records. From Laputa, I found 'Degrees Dream' to be particularly affecting - a lazy, floating track that almost sends me into a day dream when I hear it. Likewise, Kaleidoscope's 'Blue Moon' successfully melds eastern instruments and chanting with western bells and choir in another dreamlike transcultural odyssey - a soundscape that re-appears more prominently on Susumu's last record, Dreamer. An obvious facet of Susumu Yokota's discography is its impressive breadth and diversity of musical styles. The first group of albums worth mentioning consist of his pre- Sakura electronic releases, including his 1993 trancy debut The Frankfurt-Tokyo Connection, 1994's Acid-house Acid Mt. Fuji, and my personal favourite, 1997's Mouse On Mars-like Cat, Mouse And Me.
While lacking the depth of his later releases, these albums certainly don't lack for charm, and more than hint at some of the further riches to come. All three clock in at over 70 minutes, and therefore involve a considerable investment of time. I found the initially beguiling Acid Mt. Fuji to test my patience the most as the least varied of the three, whereas Cat, Mouse And Me features many delightful changes of direction - highlight 'Wait For A Day', 'Cat, Mouse And Me' and 'Dodo' all had me clamouring for multiple repeated listens.
Alongside these early releases it is also worth mentioning the excellent Image 1982 - 1998 compilation, which is half low-key guitar instrumentals from the 1980s, and half Sakura-style electronic ambient pieces from the 1990s. On the other hand, Magic Thread (1998) is a minimalist ambient affair that is largely forgettable, aside from the odd interesting moment. Susumu's work diversifies again into the 2000s and beyond. Perhaps the best release from this era, and rival for Sakura's crown as the finest Susumu Yokota album, is 2005's Symbol.
Symbol is a bold departure from previous releases, and in essence is a skillful mash-up of various Western Classical music pieces stitched together with more than a veneer of Susumu's deft collage of beats and samples. The end result is quite simply gorgeous, and is likely to appeal to listeners put off by his more abstract electronic releases. The more accessible approach of Symbol is taken to another level on 2007's Love Or Die, which is probably Yokota's most commercial sounding album, melding some strong piano-driven tracks with Susumu's signature electronica. Commercial shouldn't be taken as a criticism here - there are more moments of beauty and stand-out tracks than in any of his other releases, but paradoxically at the same time it feels just a little too structured, produced and choreographed.
Another predilection in Susumu Yokota's work is his liking for ethereal and folksy female vocals. This is the emphasis for another couple of albums, 2006's Wonder Waltz, and 2009's Mother, which each make use of a number of guest vocalists. While neither of these records are particularly consistent by Yokota's usual standards, each one features stunning stand-out tracks, from the lullaby-like 'Don't Go Sleep' on Wonder Waltz to the piercing Nancy Elizabeth vocals on 'A Flower White', the enchanting 'Meltwater' and mournful '12 Days 12 Nights', all on Mother.
Mother is certainly the stronger of the two, and like many of Susumu Yokota's later releases has perhaps been unfairly overlooked in the Western music press. Susumu Yokota's last studio album is 2012's Dreamer. This album and its cover are steeped in Asian mysticism, and the music is testament to Susumu's evident interests in fusing elements of Western and Eastern music, as well as styles and sounds from across his career. This album sadly received little fanfare in Europe and North America, and reviews are hard to come by on the web. Dreamer is a challenging but rewarding album, epitomised by the jarring but alluring second track 'Flitting Ray'. The album also features two stomping housey tracks, 'Inception' and 'Animiam Of The Airy', which are surely a nod to Susumu's pre- Sakura days, and bring a necessary change of pace and and urgency missing from much of Yokota's earlier work.
The end result is an impressive, albeit idiosyncratic monument to Susumu Yokota's fundamentally innovative and affecting musical career. Aside from a few promotional photographs, it is difficult to get much sense of the man behind the music. The 2016 re-release of 1994's Acid Mt. Fuji paints a picture of Susumu as a mysterious, almost romantic figure, a lone artist who seldom gave media interviews, and was prevented from giving regular live performances by an ongoing state of poor health.
This picture of the introspective artist is heightened in particular the sleeve notes from the Image 1982 - 1998 compilation, which features a list of paintings, collages and photos produced by Susumu in 1987-8 (including the cover art for 2007's Love Or Die album - shown above), in addition to a short essay by Susumu about the tracks on the album. It seems fitting to end this tribute with a quote from this essay, as Susumu describes 'Kona' as a theme influencing his very earliest music:Kona is a Japanese word for powder - an assemblage of white grains. I wished to be Kona. I wished to be Kona at the moment of death. Things I wanted to do were becoming very clear because of this wish. Sugar, stevia, some chemical drugs, and ceramics are a gathering of super-particles.
Susumu Yokota Wait For A Day Meme
Accumulate some white Kona and blow on them. They will scatter can never be replaced exactly in their original form. Like the vagueness of memories.
Bones of the dead are shattered like Kona and sprinkled over the homeland. Children can fly in the sky when sprinkled with Angel's Kona.