Yellow Magic Orchestra, often abbreviated as YMO, is a pioneering Japanese electronic music band. They are also known as the "Japanese Kraftwerk" due to their influence and similar musical style. One of their most iconic albums is their self-titled debut album, "Yellow Magic Orchestra," released in 1978. The main idea of this album is its groundbreaking fusion of different genres, including electronic music, pop, and traditional Japanese music. YMO's innovative use of synthesizers, drum machines, and other electronic instruments revolutionized the sound of popular music in Japan and inspired countless musicians across the world. The album opens with the track "Computer Game," a mesmerizing instrumental piece that showcases YMO's mastery of creating catchy melodies and infectious rhythms with electronic instruments.
The album opens with the track "Computer Game," a mesmerizing instrumental piece that showcases YMO's mastery of creating catchy melodies and infectious rhythms with electronic instruments. This song, along with other tracks like "Firecracker" and "Technopolis," became instant staples in the electronic music scene and helped establish YMO as an influential force in the genre. Another standout track on the album is "Tong Poo," which blends traditional Japanese folk music elements with electronic sounds.
Witches in Britain
Witchcraft was not made a capital offence in Britain until 1563 although it was deemed heresy and was denounced as such by Pope Innocent VIII in 1484. From 1484 until around 1750 some 200,000 witches were tortured, burnt or hanged in Western Europe.
Most supposed witches were usually old women, and invariably poor. Any who were unfortunate enough to be ‘crone-like’, snaggle-toothed, sunken cheeked and having a hairy lip were assumed to possess the ‘Evil Eye’ ! If they also had a cat this was taken a proof, as witches always had a ‘familiar’, the cat being the most common.
Many unfortunate women were condemned on this sort of evidence and hanged after undergoing appalling torture. The ‘pilnie-winks’ (thumb screws) and iron ‘caspie-claws’ (a form of leg irons heated over a brazier) usually got a confession from the supposed witch.
Witch fever gripped East Anglia for 14 terrible months between 1645 – 1646. The people of these eastern counties were solidly Puritan and rabid anti-Catholics and easily swayed by bigoted preachers whose mission was to seek out the slightest whiff of heresy. A man called Matthew Hopkins, an unsuccessful lawyer, came to help (!) He became known as the ‘Witchfinder General’ . He had 68 people put to death in Bury St. Edmunds alone, and 19 hanged at Chelmsford in a single day. After Chelmsford he set off for Norfolk and Suffolk. Aldeburgh paid him £6 for clearing the town of witches, Kings Lynn £15 and a grateful Stowmarket £23. This was at a time when the daily wage was 2.5p.
A heart carved on a wall in the market place at Kings Lynn is supposed to mark the spot where the heart of Margaret Read, a condemned witch who was being burnt at the stake, leapt from the flames and struck the wall.
Much of Matthew Hopkins theories of deduction were based on Devils Marks. A wart or mole or even a flea-bite he took to be a Devils Mark and he used his ‘jabbing needle’ to see if these marks were insensitive to pain. His ‘needle’ was a 3 inch long spike which retracted into the spring-loaded handle so the unfortunate woman never felt any pain.
Matthew Hopkins, Witch Finder General. From a broadside published by Hopkins before 1650
There were other tests for witches. Mary Sutton of Bedford was put to the swimming test. With her thumbs tied to opposite big toes she was flung into the river. If she floated she was guilty, if she sank, innocent. Poor Mary floated!
A last reminder of Hopkins’ reign of terror was discovered in St. Osyth, Essex, in 1921. Two female skeletons were found in a garden, pinned into unmarked graves and with iron rivets driven through their joints. This was to make sure a witch could not return from the grave. Hopkins was responsible for over 300 executions.
Mother Shipton is remembered still in Knaresborough, Yorkshire. Although called a witch, she is more famous for her predictions about the future. She apparently foresaw cars, trains, planes and the telegraph. Her cave and the Dripping Well , where objects hung under the dripping water become like stone, are a popular site to visit today in Knaresborough.
In August 1612, the Pendle Witches, three generations of one family, were marched through the crowded streets of Lancaster and hanged.
Though many of the Acts against witchcraft were repealed in 1736, witch hunting still went on. In 1863, an alleged male witch was drowned in a pond in Headingham, Essex and in 1945 the body of an elderly farm labourer was found near the village of Meon Hill in Warwickshire. His throat had been cut and his corpse was pinned to the earth with a pitchfork. The murder remains unsolved, however the man was reputed, locally, to be a wizard.
It seems that belief in witchcraft has not entirely died out.
Published: 29th May 2015
Published: 29th May 2015
This fusion of cultural influences was a defining characteristic of YMO's music and set them apart from other electronic music acts of the time. The album also features collaborations with other notable musicians, such as Haruomi Hosono and Ryuichi Sakamoto. Their musical contributions further enhanced the unique sound of YMO and added depth to their compositions. Overall, "Yellow Magic Orchestra" is an iconic album that not only solidified YMO's status as pioneers of electronic music but also left a lasting impact on the global music scene. Its innovative use of technology, diverse musical influences, and infectious melodies continue to inspire and resonate with listeners to this day..
Reviews for "The Eclectic Influences at Play on Yellow Magic Orchestra's Iconic Album"
1. John - 2/5
I really wanted to like this iconic album by Yellow Magic Orchestra, but unfortunately, it fell flat for me. I appreciate their innovative use of synthesizers and electronic elements, but the overall sound felt dated and lacking in substance. The repetitive beats and simplistic melodies failed to captivate me, and I found myself losing interest after a few tracks. While I understand the importance of this album in the history of electronic music, it just didn't resonate with me personally.
2. Emily - 3/5
I had high expectations for this iconic album by Yellow Magic Orchestra, considering its reputation as a classic in the electronic music genre. However, I was left somewhat underwhelmed. While I can appreciate the group's influence on future artists and their experimental approach to production, I found the overall sound to be a bit repetitive and monotonous. The lack of variety in the tracks made it difficult for me to stay engaged throughout the entire album. There were certainly moments of brilliance, but as a whole, it didn't live up to the hype for me.
3. Chris - 2/5
I cannot understand why this album by Yellow Magic Orchestra is considered iconic. The music feels outdated and lacks any sort of depth or complexity. The tracks blend together, making it hard to distinguish one from another. There's a lack of memorable hooks or melodies, leaving me feeling indifferent towards the whole listening experience. While I can respect the band's contribution to the development of electronic music, this album just didn't resonate with me personally. Overall, I was left disappointed and unimpressed.
4. Sarah - 2/5
As a fan of electronic music, I was excited to listen to this acclaimed album by Yellow Magic Orchestra. However, I found it to be quite underwhelming. The tracks felt repetitive, with little variation in sound or structure. The melodies lacked depth or complexity, and I struggled to find anything truly memorable about the album. It failed to capture my attention or evoke any strong emotions. While I can acknowledge its historical significance, I simply couldn't connect with this particular album.