Observations: Ryuichi Sakamoto's unchained melodies
"I am just trying to avoid being a slave to the old musical system," says Ryuichi Sakamoto of his new CD, Out of Noise. "I was doing that when I was 18, but then came a long detour into pop and film music. I now want to get back to my roots." And the world's most eccentric singer-songwriter gives a self-deprecating laugh: that detour included modelling for Gap, playing a sadistic prison guard opposite David Bowie, co-starring with Madonna in the video for Rain, and composing the music for a long list of feature films, including Shirin Neshat's 2009 Women Without Men.
This new urge has led to a wonderfully beguiling record, sometimes reminiscent of Arvo Pärt, sometimes medieval-modal, and sometimes – with the sampled sound of rain and wind in leaves – quintessentially Japanese. "I wanted to make music from random noise – to grab melody and harmony from it – but I want there to be no demarcating line between what I find, and what I make from it." But behind this lies a philosophical gesture. "Almost everything that can be composed, has been composed," he says. "There is only a very small space in which composers can write new melodies." Where is that space? "Using computers, we can use frequencies and time as a canvas. Like a painter or sculptor, we can put a sound object wherever we want on this canvas."
Next week he's starting a UK tour, performing music from Out of Noise, and also from his new film-score CD, Playing the Piano.
Ryuichi Sakamoto performs at the Birmingham Symphony Hall on Sunday (www.thsh.co.uk), and thereafter in Manchester, Brighton and London.
Subscribe to Independent Premium to bookmark this article
Want to bookmark your favourite articles and stories to read or reference later? Start your Independent Premium subscription today.
Join our commenting forum
Join thought-provoking conversations, follow other Independent readers and see their replies