Ryuichi Sakamoto

async

Unlike other expressions of mortality like David Bowie’s Blackstar or Touché Amore’s Stage Four, Sakamoto isn’t raging against the dying of the light. The tracks on async are more often gentle sighs of relief suffused with a reawakened wonderment at the beauty of simple sounds created by man made instruments and the natural world.

The musical language of Ryuichi Sakamoto is esoteric and also innately relatable. Ultimately, it is beautiful.

async is a humble record about appreciating the little things in life and taking in the fullness of sound, even at its most delicate.

Async is certainly not one of Sakamoto's most accessible albums, but if the listener is willing to devote several listens until it all makes sense, it ends up being quite powerful.

What you find on his latest album, async, is a dark, sparse work that, while gorgeous, is a collection of very deliberate moves that are highly creative but not necessarily celebratory.

The Japanese composer's first solo album after eight years and a battle with throat cancer is marvelous, using a bounty of textures, moods, and ambience from his esteemed four-decade-long career.

Viewed solely as Sakamoto’s homage to an artist he admires—and as an extension of his years of scoring films like The Last Emperor and The Revenant—Async is a beautiful experiment, one that yields its own meditative, cinematic pleasures.