Haruomi Hosono - "Philharmony" Vinyl, Reissue, Album, 1982/2018 (Light in the Attic)

Techo-pop as perfection.  Haruomi Hosono, who is no stranger on my blog here, is a combination of Van Dyke Parks and Brian Eno.  His stance in Japanese contemporary music is vast and of great importance.  Hosono is active as a producer, songwriter, arranger, and solo artist, as well as being part of the YMO (Yellow Magic Orchestra).  There is something late 20th-century Japan that fits in perfectly with the sound of analog synths and the way music is used in public areas, such as train stations and retail shopping areas.  Often, and to this day, one can hear interesting electronic music being in the background while traveling or shopping.   "Philharmony" is the ground zero of this type of aesthetic.  Hosono has made pure electronic ambient albums, but "Philharmony" is based on pop songs done in an electronic manner. 

There's a touch of purity in its approach, but Hosono is very expressive in that framework. This album is light, airy, but with a strong sense of melodies.  At the moment it is either difficult to find, or very expensive, but I do swear that it is worth the game of searching this album down. 

Holger Czukay - "Movies" Vinyl, LP, Album, Reissue, 1982 (EMI)

It seems silly but I discovered the actual music by Can only in 2017!   On the other hand, I know Holger Czukay's solo album "Movies" since the early 1980s.   I also know his music and name due that he worked with David Sylvian around the same time that era.  "Movies" is a perfect snapshot when I lived in Hollywood, and listening to this album it brings back memories of my little studio apartment on Martel Avenue.   It's an easy record to get into, due that there is an endless groove among its experimental cut-ups and sound wise one never knows what is going to appear inside your stereo speakers. 

I don't know the history of this album, but I suspect that it was recorded during Can (the band he was in) recording sessions, due that all of the musicians are on "Movies."  It's very much a happy album, and it doesn't have the tension of sadness, but more of a beautiful exploration of the world through sound and rhythm.  There's a purity in its purpose, and my favorite cut is "Persian World," which features vocals from a radio station somewhere in that part of that world.  Czukay would do cut-ups of different cultures sound wise, and yet, both feet are on Western grounds.  The album is almost exotica territory in that it relays a sense of community and pleasure.  "Movies" is the inspiration for musicians like Brian Eno and David Byrne.   A great album.  

ABBA - "The Day Before You Came" b/w "The Day Before You Came" 7" vinyl single, Promo, 45 rpm, 1982 (Atlantic)

A song that haunts me from the very first time I've heard it.  I have always been attracted to the thought that Mr. Right or Ms. Right is just right around the corner, and by chance, they shall meet. It has a Nöel Coward approach of throwing the dice and seeing how life will come upon oneself.  The beauty of it is the passiveness of the singer, noting her day, which is very average, and something experienced every day.  Until the moment happens, and all of sudden the world changes.  Benny Andersson and Bjorn Ulvaeus go into the pathos and the dreaded counting of one's existence in a day that's normal but full of dread.  An ABBA masterpiece.  

Mick Karn - "Titles" CD, Album, Reissue, 1990/1982 (Caroline)

Bass playing in my listening experience is not always, but usually distinctive to a specific player.  Mick Karn, I can identify within a few seconds of his playing. For one, he plays a fretless bass, and the way he treats melodies is like containing water by cupping your hand. It will slowly leak out, but the essence of the taste of the cool water will stay with you.  Karn's playing works in the same fashion.   It throbs with sexuality, and it is almost like hearing someone crying.   Karn was a member of the band Japan.   His bass playing for that band was essential to their overall sound.  David Sylvian the lead singer and writer for Japan never really changed that much in his solo recordings, except maybe be more experimental in its overall sound.  Still, when I hear the Sylvian solo release, I think, where is Mick?    And when I listen to Karn's solo recordings, I think "where's David."  In truth, or whatever their problem was, they needed each other.  The original band should have never broken up, even though I do enjoy the solo recordings by both artists. 

"Titles" is the first solo Mick Karn album.   One would not expect that much because he's not known as a composer or songwriter, but still, the bass playing is the essence of everything he did.  The truth is "Titles" is a very good album.  Ambient in parts, and totally exotic sounding throughout the record.  It reminds me of David Bowie's "Low," in that Karn gives in to the instrumental side of the world.  The album features members of Japan (except David of course), but it's mostly Karn doing all the overdubs and it's great noise.  Spiritual in a pop sensibility way, the album is Karn stretching out his muscles and brain.  His death from Cancer was a terrible tragedy.  As I mention, the bass playing is very individual practice, and with him out of the picture, we lost a unique and brilliant musician. 

Soft Cell - "Say Hello, Wave Goodbye" 45 rpm Vinyl Single, 1982 (Some Bizarre)

I have a great admiration for Marc Almond's aesthetic and voice, but I never loved him.  I can't give you a reason why this is the case.  At the height of the Soft Cell fame, I had three of their albums, and all are fantastic.  Still, his voice is technically perfect but I find it lacking a certain amount of grit or soul.  This I think is more of a "me" problem than a Marc Almond problem.  A million fans will tell me otherwise, and I think they would be correct.  Still, the one song that I can never find fault with is "Say Hello, Wave Goodbye."  One of the great songs of the 1980s and such a beautiful melody.  Which comes to play in the big time with the instrumental b-side.  Dave Tofani's Clarinet solo is one of my favorite pieces of music.  Or I should say a series of moments. The playing is fantastic, but he really captures the Eros and regrets through the Clarinet.  It's an amazing sound and melody.  A perfection of sorts.