21 1/2 moments that made us gag online dating

Sakamoto at his most wistful and wonderful, meditating on the existentialist, ontological themes and atmospheres of Tarkovsky’s work from both a gauzily impressionistic aspect, and a quite literal one, employing readings of Tarkovsky’s poetry (poem transcribed in the liner notes) in a variety of languages from a coterie of contemporaries including long time collaborators David Sylvian, Bernardo Bertolucci (for whom he composed the OST for The Last Emperor) and Carsten Nicolai (Alva Noto), among others.

Embracing both the fluidity and flux of Tarkovsky’s water analogies as well as the harmonic chaos of Harry Bertoia’s lush metal rod clangour, Sakamoto melds feather touch acoustic keys with field recordings, shimmering electronic patinas and signature synthesiser flourishes in a suite that beautifully lives up to and even transcends its influences, revealing some of the most achingly emotive yet often abrasive and abstract work in a catalogue now spanning over 40 years of exemplary work.

As the title suggests, you can consider these new pieces as discrete strands in a sort of diffracted spectral venn diagram of her sound.Uncompromisingly distinct while redolent of modal minimalism, 70s, new age, and folk music, it effectively blurs distinctions between traditional composition and more open, overlapping genres that hover in the half-light between acoustic and electronic refinement.Rather than anything grandiose or explicitly seductive, the effect of Grafts is best compared with the subtle intoxication of micro-dosing on LSD or the clarity afforded by quiet meditation, in a sense dilating the listener’s focus to a heightened awareness of the piece’s intricate peripheral tones as much as its melodic centre ground, with a beautifully understated, surreal resolution.It’s riddled with so much nuance that many months on we’re still discovering hidden new crevices with every listen.If you’ve yet to hear it - what are you waiting for?

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