Review Summary: Stripping away everything that has made him who he is today, Kashiwa Daisuke creates one of his most charming, beautiful, and ultimately wonderful releases to date.
I really make no secret about itâ€"Kashiwa Daisukeâ€™s 2007 masterpiece, Program Music I
is one of, if not my favorite album of all time. Truly, I could write pages upon pages why the album means so much to me, how its endless complexities and extravagant melodies still appeal to me in the same way they did those years ago. I can even recount my very first experience with the album. Rarely does an album come along that convinces me that music can transcend an artistic medium, and become something greater, something effectual and tangible. Program Music I
, in its short life span, has had this effect on more persons than just I. In fact, people all over sing Daisukeâ€™s praises, despite some of his more questionable moves.
For people whoâ€™ve loved Daisuke, his newest release, 88
, is for you. For those whoâ€™ve not seen what others have, this album may still be for you. The record derives its name from the number of keys on the piano. The piano of course being the sole instrument used on 88
. Itâ€™s an immensely stripped down affair, consisting of only piano melodies. A bold move considering his 2009 release, Dec. 5
was anything but â€śstripped down.â€ť It was an album of uncompromising madness, so much that even Worldâ€™s End Girlfriendâ€™s Katsuhiko Maeda would scratch his head. In said album, Daisuke took his electronic sensibilities to new heights, creating a frenetic, chaotic record that was both disjointed and disappointingly jarring considering its predecessorâ€™s pedigree. 88
counters this sublimely, a sentiment that may come as a relief to longtime fans, but may be disappointing to those fans who are newer.
Despite being more of a â€śreturn to form,â€ť 88
is unlike anything Daisuke has ever done before. As stated previously, that album consists of one instrument: the piano. This creates a much, much more intimate atmosphere, as the listener feels much more connected to Daisuke the artist. While he may not be a Franz Liszt, Daisuke is fairly fluent in piano and its composition. The songs are not the most complex pieces out there, nor are they the most technically demanding. However, what they have in spades is â€śsoul.â€ť Many of the tracks are tender, thoughtful compositions that cover a myriad of emotions, all through the simple yet beautiful sounds of the piano. Whether it be the eerie, melancholy of â€śScorpion of Red Eyes,â€ť or the sweet, dulcet tones of â€śGood-bye,â€ť 88
touches upon many feelings, making it a varied album with excellent songwriting to back it up.
Consisting of eleven tracks, with run-times ranging from a minute to over ten, 88
is a rather lengthy album. And although most of the album is shear gold, it dips not only in quality, but in consistency as well. Although each track is fresh in its own way, some are less so than others, namely â€śMy Favorite Things.â€ť Yes thatâ€™s actually a cover from The Sound of Music
. it quite honestly doesnâ€™t fit well, especially when taking into consideration that it is simply a poor rendition of the song, completely destroying the jovial mood and flow. â€śScorpion of Red Eyes,â€ť on the other hand, isnâ€™t a cover; so much as it is a re-imagining of the first few minutes of â€śStella,â€ť his most critically acclaimed work. Lacking the more complex moods found in the original, it comes off a light and forgettable. Despite these few missteps, 88
is filled with stellar tracks. The longer songs, such as â€śIn the Lakeâ€ť and â€śSwan Song,â€ť are some of Daisukeâ€™s best ever. They move with passion and intensity, and never once falter under the weight of their ambition. Truly standouts in an album full of worthy pieces.
is the album fans have been waiting for since Program Music I
. Although it is vastly different from said album, it shows Daisukeâ€™s commitment to once again composing complex and beautiful music, rather than cater to some maddening musical concept. Sure, at times the album feels almost too stripped down for its own good, but itâ€™s grounded, confident, and ultimately incredibly consistent. Whether you listen intently, or in short bursts, 88
â€™s lovely melodies will appeal to you, comfort you, and convince you that even the most simple form of music can create vast, complex soundscapes. Welcome back Daisuke, weâ€™ve missed you.