The sound is the best I have heard for a million years
[Verse 2]
From the thunder that came, I was never the same
And I would stop to think of what to do
I was taking a leap I was playing for keeps with you
[Verse 3]
Too many touches on my skin
That's lying between now and then
Too many kisses on my chin
So severe
[Verse 4]
I can't believe the state I'm in
I can't believe what's happening
We'll never be this young again
Guinevere
[Verse 5]
The comic relief that makes room for my decision
To tighten the rope so that you never will forget
The music that comes from when playing with precision
The words are too rough, I can't shake it from off my head
[Verse 6]
I was making a mess for the better I guess
With a desire to be understood
There were people around with the need to get down for good
[Verse 7]
The many touches on my skin
That's lying between now and then
The many kisses on my chin
So severe
[Verse 8]
I can't believe what's happening
I can't believe the state I'm in
We'll never be this young again
Guinevere
Significado da canção
Kasper Bjørke e Jacob Bellens são dois artistas de nacionalidade dinamarquesa que, nesta colaboração de 2009 intitulada "Young Again", criaram uma faixa que transita entre o synth-pop, o indie dance e o electro-house. Se analisarmos apenas a letra, a música foca-se na nostalgia, na efemeridade da juventude e na aceitação da passagem do tempo, deixando o aviso agridoce de que nunca seremos tão jovens como no momento presente.
O uso do nome Guinevere nesta canção baseia-se no forte simbolismo que a personagem carrega na literatura, servindo como uma metáfora perfeita para a mensagem de melancolia e nostalgia da música. O compositor Jacob Bellens, conhecido pelo seu estilo abstrato e romântico, utiliza a icónica rainha de Camelot para evocar o arquétipo do amor proibido e trágico. Na mitologia arturiana, o romance de Guinevere com Lancelot é sinónimo de uma paixão avassaladora, mas que carrega consigo a dor e a inevitabilidade da ruína, o que se alinha perfeitamente com o desabafo melancólico presente na letra da canção.
Além disso, a figura de Guinevere está intrinsecamente ligada ao fim de uma era dourada, já que a sua traição acabou por ditar a queda de Camelot e a destruição da Távola Redonda. Ao cruzar essa referência com o refrão que repete que nunca mais seremos assim tão jovens, a música transforma a personagem num símbolo da perda da inocência e da passagem implacável do tempo. Ao escolher um nome mítico e intemporal em vez de um nome comum, o autor eleva a pessoa a quem canta ao estatuto de uma musa distante e inalcançável, transformando a canção num lamento poético sobre as marcas que os amores intensos deixam na nossa pele e a saudade de um passado que não volta atrás.
No entanto, o conceito de biofilia - que remete para a ligação inata do ser humano com a natureza e com o mundo vivo - torna-se o pilar central da obra quando olhamos para a sua componente visual. No teledisco, realizado por Karim Huu Do , esta ligação é explorada de forma artística e surrealista, mostrando plantas, musgos e fungos a brotarem diretamente da pele e dos corpos das personagens. Esta fusão funciona como uma metáfora poética onde o ciclo da vida humana é equiparado ao ciclo botânico do nascimento, florescimento e decomposição. Assim, ao contrastar a batida eletrónica e sintética com imagens puramente orgânicas, a obra completa acaba por sugerir que, independentemente do quão urbanos ou tecnológicos nos tornemos, a nossa essência permanece biológica e inevitavelmente ligada à Terra.
To listen to "Cherry Blossom" is to witness a digital sunrise over an ancient forest. It is not merely a song, but a living ecosystem of sound that bridges the gap between the pulse of the machine and the rhythm of the of the heart.
An Ecological Resonance
This track breathes. It captures the essence of ecological interconnectedness, where the repetitive, hypnotic loops mimic the cycles of the seasons. It suggests that our technology is not an enemy of nature, but a mirror of it—a "botanic electronica" where every synthesizer swell feels like a petal unfurling in slow motion. It reminds us that we are not separate from the Earth; we are the Earth processing beauty through frequency and light.
The Human Tapestry
In its ethereal textures, there is a profound human connection. Yokota weaves an invisible thread of silk that connects every listener across time and space. To be moved by this music is to participate in a collective meditation. It strips away the ego, leaving only a shared sense of wonder. It is a universal language that speaks of our common fragility and our capacity for grace.
An Act of Active Pacifism
Above all, this music is a manifesto of active pacifism. In a world defined by noise, aggression, and the sharpness of conflict, choosing to dwell in this sonic landscape is a radical act of resistance.
It is a unilateral disarmament of the soul.
It replaces the "iron and fire" of modern discord with a "transparency of spirit."
By refusing to be loud or violent, it achieves a strength that no weapon possesses.
To carry this melody within you is to walk through the world with an open heart, proving that softness is not weakness, but the ultimate form of resilience. It is a quiet revolution that begins in the ear and ends in a more peaceful way of being.
Yokota was at the forefront of Japan's electronic music scene as it blossomed in the early '90s. His vast and exceptional body of work found him fans from far beyond the realms of the dance community, with Bjork, Phillip Glass, and Radiohead's Thom Yorke just a few names from his long list of admirers. His music found homes on revered labels such as Harthouse, Sublime Records, Reel Musiq, Leaf, and his own Skintone imprint, and his music saw him invited to perform DJ sets at the world's best-loved dance venues. He was the first Japanese artist to play at Berlin's Love Parade, and – alongside Ken Ishii – represented Asia magnificently during dance music's halcyon days through the late '90s and early '00s. His sound veered from techno to acid, ambient to house, breaks to drum & bass, and he recorded under innumerable aliases – including Stevia, Ebi, Prism, Ringo, Yin & Yan, Anima Mundi.
Though he died tragically in 2015, his incredible back catalogue continues to shine brightly, and it's of little surprise that labels are opting to re-issue the best of his music. Earlier in 2021, UK label Cosmic Soup presented a collection of house and techno sounds Yokota recorded under the secret alias 246, and now it's the turn of his ambient-leaning 'Symbol' to enjoy another jaunt under the spotlight. Previously released on British imprint Lo-Recordings, the blissfully horizontal album is formed around a core of samples borrowed from classical music – manipulated and repurposed alongside Yokota's masterful programming.
Borrowing passages and snippets from classical masters including Debussy, Tchaikovsky, and Ravel, he expertly lifts the emotion behind the original music while uniquely reimagine the music. From the soothing strings of opening track 'Long Long Silk Bridge' to the mesmerising chants of 'Symbol', the album overflows with imagination and spellbinding beauty. Yokota was a true master of electronic music composition, and 'Symbol' is among his most playfully seductive albums. Penetrable but profound, its re-issue represents a wonderful opportunity for new audiences to marvel at his studio prowess.
Maxi Jazz morreu, na noite da última sexta-feira (23), aos 65 anos de idade. A informação foi divulgada pela banda de música eletrónica Faithless, da qual Maxi era vocalista.
Budista, bom poeta e boa pessoa.
Segundo o anúncio, Maxi Jazz morreu “pacificamente durante o sono”. “Ele foi um homem que mudou as nossas vidas de muitas maneiras. Ele deu um significado apropriado e uma mensagem à nossa música”, escreveu o grupo.
I can't get no sleep I can't get no sleep I need to sleep, I can't get no sleep
Deep in the bosom of the gentle night Is when I search for the light Pick up my pen and start to write I struggle and fight dark forces in the clear moonlight Without fear Insomnia
I can't get no sleep I can't get no sleep
I used to worry, thought I was going mad in a hurry Gettin' stressed, makin' excess mess in darkness No electricity, something's all over me, greasy Insomnia, please release me and let me dream Of makin' mad love to my girl on the heath Tearin' off tights with my teeth
But there's no release, no peace I toss and turn without cease Like a curse, open my eyes, rise like yeast. At least a couple of weeks Since I last slept, kept takin' sleepers But now I keep myself pep Deeper still, the night I write by candlelight, I find insight Fundamental movement
So when it's black This insomnia takin'-original-tack(?) Keep the beast in my nature Under ceaseless attack... I gets no sleep
I can't get no sleep I can't get no sleep I can't get no sleep I need to sleep, I can't get no sleep I need to sleep, I can't get no sleep
Por vezes os estudantes ultrapassam todas as expectativas e apesar de não gostar do tema musical, a animação e a letra são excelentes. Para quem gostar de todo o video, é um dia bem passado a ouvir e escutar e partilhar "Fossil Rock Anthem"
