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On songs like “La Femme Chionese, “Firecracker,” and “Tong Poo” less is certainly more, and the minimal music helps to accentuate the basic-yet-unforgettable melodies that make the songs the classics of synth-pop that they are.

However, working within the suffocating confines of the technology available probably helped to create the album’s incredibly catchy songs. It does sound dated today, even for a synth-pop record, as the nascent technology being used make some of the songs sounds rather sparse and limited when compared to synth-pop in the years to come. The album is easily one of the strongest debuts by a band ever, in any country, and is filled with tunes that became classics in Japan and staples for YMO live shows for years to come. Which makes that fact that most of their follow-ups never came out America to be even more of a mystery. The album was an immediate success in its native Japan, and even cracked the Top 200 in the states and England as well.

Album DescriptionReleased in 1978 and incorporating brand new electronic instruments, traditional Japanese music and a modern pop sensibility, nothing else sounded like it at the time and even today it sounds quite unique.

See More Your browser does not support the audio element. If only the first half was a good as the second.

T" is a Kraftwerk-ian instrumental charged with menace and speed and "Loom" finally gets to a calm resting place of dripping water, floating electronics, and a Eno-esque atmosphere.

However, there are some standout tracks on side two: "Cue" by Hosono and Takahashi is a very assured ballad, given sufficient frisson by its galloping synth line and strangely programmed drums "U And YMO's attempt to understand rap ("Rap Phenomena") is as plodding as it is embarrassing. One of Sakamoto's efforts ("1000 Knives") comes from his 1978 solo album, revisited here as a twisted blurp of an instrumental the other ("Happy End") is all atmosphere and no substance. There's also the sense of a group rushing to put out another album (close on the heels of Xoo Multiplies). Instead, it's a continuation of YMO's techno aesthetic, focusing more on Takahashi's distorted vocals and similarly liquid synth sounds, which give much of the album a melancholic air. Buy the album Starting at kr150,89īGM stands for "background music," and one could be mistaken for thinking that this is an album of ambient-sounding tracks. Purchase and download this album in a wide variety of formats depending on your needs.