Yasuaki Shimizu / Re-Subliminal / Japanism

Yasuaki Shimizu recorded the original Subliminal in Paris, in 1987. Post those now well-known gems, Kakashi and Mariah`s Utakata no Hibi. Re-Subliminal represents a partial reissue. With Yasuaki selecting an handful of tracks for Chee Shimizu`s Japanism. The package including a couple of extended edits from Chee. It`s a set of Japanese Electronics in the vein of Haroumi Hosono`s Philharmony. Ryuichi Sakamoto`s collaborations with Robin Scott. Platonic, and Once In A Lifetime. The Electro – the sleeve notes thank Afrika Bambaataa – of Sakamoto`s later Shogunade. Kisaragi Koharu`s Sakamoto-produced Neo Plant. Programmed drums crashing. Circuits bleeping. Sequencers flickering in counterpoint. Sampled brass and orchestras. But traditional instrumentation augments these machines. Strings and woodwinds. Shamisen, shakuhachi, and Omatsuri taiko. The music similar in approach, if not sound – this is Hi-Fi, BIG not bedroom studio – to that of Minoru Fushimi. The “World Fusion” of Sakamoto`s Tibetan Dance. And of course, Mariah. Those flickering sequencers imitating Highlife guitar. Lyrics and chants provided by Amina Annabi, Amad Henderson, Marten Ingle, Wasis Diop, and Shimizu himself. Sung in English, French, Japanese, and Senegalese Wolof. Shimizu`s sax blowing either plaintive, or in Jazz-Funk blasts. On the out-and-out dancer, Tamare-Tamare, the groove bearing a passing resemblance to the Disco drama of Hugh Masekela`s Don`t Go Lose It Baby. The House of Martin Young`s mix of Mory Kante`s Yeke Yeke. While Mamawasotode comes in gentle synthesised waves. Wasis Diop`s words creating a vocal counterpart to Yasuaki`s classic Umi No Ue Kara. Chee`s edit of Chiko-Chan focuses on Amina Annabi`s East-African backing vocals. Her Tunisian tones taking the track into the Rai country of Fadela. The Yemenite songs of Ofra Haza. Even Nusrat Fateh Ali Khan`s Mustt Mustt. Turning it into moody, hypnotic, Sufi-infused, New Beat.