Hiroshi Yoshimura – Music For Nine Post Cards

Do you ever hear a piece of music that feels like it was made exactly for you at exactly the time and place you’re hearing it? Music that just fits, wraps around you, slips into your mind like the first blush of sun coming in the window? Music so effortlessly enjoyable that its radical warmth goes unquestioned? I’m not talking simply love-at-first-listens; it’s a different thing. I mean music that feel as natural as breathing.

Music For Nine Post Cards does exactly that. Hiroshi Yoshimura may have recorded this album in 1982, but it slipped into my winter 2018 sound world without notice and quickly became the contemplative little heart at the center of the new year’s listening.

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Who Makes The Nazis?

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This is the first time I’ve brought politics onto the site, but in light of recent news, it feels appropriate. The song asks an eternally relevant question that we seem to have collectively forgotten the answer to.

Here’s legendary English punk band The Fall, asking Who Makes The Nazis?

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Koyaanisqatsi

So I discovered that the entire groundbreaking, timeless, brilliant film is free on youtube.

Koyaanisqatsi

Instructions for those who have not seen Koyaanisqatsi:

1. Stop what you are doing immediately.

2. Turn volume up high.

3. Watch Koyaanisqatsi.

4. Bask in silent astonishment.

5. Thank me.

Honestly, this is one of those life-changing works of art which you will simply and honestly never forget.  I fondly recall my first viewing, laying prone in front of a laptop in a cabin on a mountain at night and feeling my astonishment overtaking all physical sensation.  This truly begs for the big screen, or at least a reasonably large one, with a reasonable sound system accompanying the visuals.  Yet its artistry thrives in any time, place, or size.  Which is exactly why I am sharing the profound discovery that it is free to anyone willing to pay only time and curiosity.  Hell, if you have firefox with adblock plus, you won’t even see the ads (and honestly, get it – I couldn’t imagine this seamless dream interrupted by commercials) and the only thing you’re missing is the absolute clarity of the original high fidelity print.  You’ll undoubtedly recognize certain elements within this time travelling all-encompassing slice of Life Itself, both stylistically and culturally.  From the frenzied time-lapse shots of nature and city life contrasting with assembly lines and traffic patterns to the impossibly slow motion glimpses of astonishment and banality, the style and content of this film has influenced more than a generation of visual art and storytelling.

The best part is that I haven’t even gotten to the music; the reason this stands 30 years on as the timeless accomplishment it is:  Philip Glass‘ score is the 10 ton monolith blocking out the sun, the elephant in the room, the absolute gravitational pull of this work.  If you are at all familiar with 20th century minimalism via Charlemagne Palestine, Steve Reich, Terry Riley or their contemporaries, or especially Glass’ emotive, often romantic take on the sound, you are likely already familiar with some or all of these sounds; if not you are in for a warm embrace of what will likely become a hermetic world you’ll find easily inhabited and unequivocally addicting.  Call it lazy, but having the film here and ready to watch makes me reluctant to begin ascribing descriptors to the music.  It must be experienced to be grasped.  The marriage of sound and picture is essential for direct, uninhibited understanding, for knowing the intrinsic appeal of minimalism itself, for laying bare the nature of conceptual ourboros, the cyclical existence we’re evolved to respond to.  This score is meant to evoke the cosmic design of life itself from violent beginning to violent end and all of the impossibly close and personal yet gigantic moments in between.

Note: Do not listen before viewing.  Although entirely gorgeous, worthy, and entrancing on its own…  divorced from the imagery at birth, Glass’ score will never reach the same affection and thus should be saved for after-film experience.