An amulet is a small object that is believed to possess magical powers or bring good luck to its owner. These objects can be made from various materials and are often worn as accessories or hung in homes, cars, or other places for protection. Making an amulet is a personal and creative process that can be tailored to individual preferences or beliefs. Here are some steps to guide you in the process of making your own amulet. 1. Choosing the purpose: Decide the intention or purpose for your amulet.
Tokyo’s Pit Inn in the Shinjuku district is considered by many to be Japan’s “most important jazz club.” An institution established in 1966, the Pit Inn had seen many of Japan’s finest musicians play its stage. As with many places of repute, a few other establishments tried to copy the style of the late-night entertainment venue. One even copied the name, a bar in Roppongi called the Roppongi Pit Inn, which opened in 1978 and closed in 2002. It was there, after the release of their debut album, that Yellow Magic Orchestra were “discovered” by some American executives for A&M Records on other business in Japan. An international deal with A&M gave the group what was long-sought: foreign audiences. They could finally bring their own version of technopop to the world and set right the way the East could be represented musically. 'Firecracker' would go on to become a huge hit in the US, and the bandmates realised that what they had was something special. They decided it might be worth focusing on the group for a time.
They d never seen a band employ a computer programmer, nor bring onstage a device like Roland s MC-8 Microcomposer, an early musical sequencer designed strictly for studio use. With that added context, it s even more delightful to see the smiles on the faces of Yellow Magic Orchestra as they crank out their best lip-sync moves to their rendition of Tighten Up, originally by Texas band Archie Bell the Drells.
Choosing the purpose: Decide the intention or purpose for your amulet. It could be for protection, luck, love, or any other specific desire or need you wish to manifest. This step will help you determine the symbols, colors, materials, and even the shape of your amulet.
The Electronic Music of Ryuichi Sakamoto
Ryuchi Sakamoto is probably well-known to most of our listeners. He was a founding member of Yellow Magic Orchestra back in the seventies and crafted a multidisciplinary career around producing solo music, ensemble pieces, classical, experimental, and a remarkable history of live performances and collaborations. He is credited with:
14 live solo albums
18 album collaborations plus 9 live collaborations
Plus, countless other projects, collaborations, singles and more than 30 releases with Yellow Magic Orchestra. In this episode, I want to feature many of his works of electronic music, much of which may be unfamiliar. In a way, I want to acknowledge this other life in music that Sakamoto has sustained, in contrast to the pop music, jazzy tunes, and albums made even more impressive by guest appearances by everyone from David Sylvian to Bill Laswell to Iggy Pop and Bootsy Collins.
Sakamoto recently turned 70 years of age. He has been hindered by health issues during the past ten years, cancers that go into remission and then sprout up again somewhere else in his body. He is currently undergoing treatment but has had time to continue working on music. In January of 2023, he released an album called 12. In the notes for the album, Sakamoto wrote this: “I had no intention of composing something. I just wanted to be showered in sound. I had a feeling it would have a small healing effect on my damaged body and soul. Sakamoto continues, from now on, until my body gives out, I'll probably continue to keep this kind of diary.”
There was a story about him on NPR but even they were not able to interview him at this time. Instead, that short profile features several composers who have known and worked with Sakamoto and they discuss his influence. One such artist is Carsten Nicolai who is also known as Alva Noto, a Berlin-based sound artist. Nicolai met Sakamoto while touring Japan and the two established a collaboration by Internet in which Sakamoto would provide material for Nicolai to treat, manipulate and process. They’ve been collaborating ever since by exchanging music in this way, collaborating live, or jointly engaged in soundtracks such as The Revenant. The work that Sakamoto does with Nicolai is on the outer reaches of experiment—sparsely populated sound environments with acoustic and electronic instruments.
Earlier in his career, around the time of Yellow Magic Orchestra, I find that Sakamoto’s electronic works displayed a compelling density of computer rhythms, interferences and contrasts. The evolution of his sound from the pop-heavy textures of jazz, rock, and soundtrack music to his parallel experiments in less popular, and much less heard, electronic sketches and experiments is truly fascinating.
This podcast will focus on examples of Sakamoto’s electronic pieces that span the timeframe from 1978 to the present.
It is interesting to me that when Sakamoto decides on a musical medium and style to portray his innermost feelings, such as his reaction to 9-11 and his ongoing health challenges, he often turns to electronic music. The unique character of his sound and the simplicity of his presentation seems to connect directly to the listener. No melodrama, no hidden messages, no secret meanings. In his hands, Sakamoto’s electronic music becomes his form of personal expression.
On his website, called SiteSakamoto, Sakamoto has given us the following message: “From now on, I will be living alongside cancer. But, I am hoping to make music for a little while longer.” And this from 2019, “What I want to make now is music freed from the constraints of time.”
Episode 90
The Electronic Music of Ryuichi Sakamoto
Playlist
1. Ryuichi Sakamoto and Alva Noto, “Second Dream” from The Revenant (Original Motion Picture Soundtrack) (2015 new regency Music). Composed, performed, and produced by Alva Noto, Ryuichi Sakamoto. 1:13
2. Ryuichi Sakamoto and Taylor Deupree, “Jyaku” from Disappearance (2013 Commons). Piano, Electronics, Ryuichi Sakamoto; Synthesizer, Tapes, Loops, Acoustic Guitar, Mixer, Taylor Deupree. 9:59
3. Alva Noto and Ryuichi Sakamoto, “Avaol” from Insen (2005 Raster-Noton). German release featuring Noto and Ryuichi electronic treatments to musical phrases Sakamoto played on the piano. Music by Alva Noto, Ryuichi Sakamoto; Piano, Ryuichi Sakamoto; Additional Sound, Carsten Nicolai (Alva Noto). 2:50
4. Alva Noto and Ryuichi Sakamoto, “ax Mr. L.” from revep (2006 Raster-Noton). German release. Noto and Ryuichi electronic treatments to musical phrases Sakamoto played on the piano. Music by Alva Noto, Ryuichi Sakamoto; Piano, Ryuichi Sakamoto; Additional Sound, Carsten Nicolai (Alva Noto). 4:20
5. Alva Noto and Ryuichi Sakamoto, “mur” from revep (2006 Raster-Noton). German release. Noto and Ryuichi electronic treatments to musical phrases Sakamoto played on the piano. Music by Alva Noto, Ryuichi Sakamoto; Piano, Ryuichi Sakamoto; Additional Sound, Carsten Nicolai (Alva Noto). 8:14
6. Ryuichi Sakamoto, “Solari” from Async (2017 Commons). Japanese release. Music and production by Ryuichi Sakamoto. 3:52
7. Fennesz and Sakamoto “0322” from Flumina (2011 Touch). Guitar, Laptop, Christian Fennesz; Piano, Laptop, Ryuichi Sakamoto. Recorded at Amann Studios, Vienna and KA+B Studios, NY and Japan. 5:35
8. Ryuichi Sakamoto, “Sunset” from Comica (2002 WEA Japan). Composed, performed and mixed by Ryuichi Sakamoto. This album is listed as one of his special projects consisting of diary sketches in sound. Described as “an ambient oriented compilation of Sakamoto's music journal from 2001 after eye-witnessing 9/11 from his home NYC.” This one of his most moving essays in sound, consisting of his piano sketches treated with electronics. The progression of the album is presented in the order of the day and concludes with “Radical Fashion.” 8:47
9. Ryuichi Sakamoto, “Night” from Comica (2002 WEA Japan). Composed, performed and mixed by Ryuichi Sakamoto. 7:37
10.Ryuichi Sakamoto, “Radical Fashion” from Comica (2002 WEA Japan). Composed, performed and mixed by Ryuichi Sakamoto. 5:07
11.Ryuichi Sakamoto, “Zure” from Async (2017 Commons). Japanese release. Music and production by Ryuichi Sakamoto. 5:12
12.Ryuichi Sakamoto, “Out of Horse” from The Revenant (Original Motion Picture Soundtrack) (2015 new regency Music). Composed, performed, and produced by Ryuichi Sakamoto; Ondes Martenot, Motoko Oya. 3:57
13.Ryuichi Sakamoto, “Borom Gal” from Heartbeat (1991 Virgin). Concertmaster, strings, David Nadien; Lead vocal and words, Youssou N'Dour; Music by Ryuichi Sakamoto, Youssou N'Dour; Programmed, Performed, and mixed by Ryuichi Sakamoto. This is one of those star-studded albums that had pop appeal. Still, the electronics and digital editing of this track, especially in 1991, make this track stand out. 3:57
14.Ryuichi Sakamoto, “Fullmoon” from Async (2017 Commons). Japanese release. Music and production by Ryuichi Sakamoto. 5:13
15.Ryuichi Sakamoto, “Nuages” from Heartbeat (1991 Virgin). Lead Vocals, Houria Aichi; traditional song; Programmed, Performed, and mixed by Ryuichi Sakamoto. This little work from Heartbeat always reminded me of something you would have expected to hear in the movie Blade Runner. 2:15
16.Ryuichi Sakamoto, “Island of Woods” from Thousand Knives Of (1978 Better Days). On this album, not necessarily this track, Sakamoto plays Ryuichi Sakamoto plays: Moog III-C w. Roland MC-8 Micro Composer; Polymoog; Minimoog; Micro Moog; Oberheim Eight Voice Polyphonic w. Digital Programmer; ARP Odyssey; KORG PS-3100 Polyphonic; KORG VC-10 Vocoder; KORG SQ-10 Analog Sequencer; Syn-Drums; Acoustic Piano;Marimba. Recorded from 4/10 to 7/27, 1978 at Columbia Studio No.1, No.2, & No.4, Tokyo. 9:51
17.Ryuichi Sakamoto, “Stakra” from Async (2017 Commons). Japanese release. Music and production by Ryuichi Sakamoto. 3:41
18.Ryuichi Sakamoto, “Tokyo Story” from Sweet Revenge (1994 Elektra). Produced, composed, keyboards, computer programming, Ryuichi Sakamoto. Recorded at 11-K Studios, NYC, Clindton Studios, NYC, Paradise Studios, Tokyo, Unique Studios, NYC, Sedic Studios, Tokyo, Metropolis Studios, London, Westside Studios, London, Skyline Studios, NYC, Right Track Studios, NYC. 1:17
19.Ryuichi Sakamoto, “Plankton” (excerpt) from Plankton (Music For An Installation By Christian Sardet And Shiro Takatani) (2016 Milan). French recording of an installation piece by Sakamoto. The entire work is nearly an hour long; this is an excerpt from the beginning of that work. Mixed, produced, composed by Ryuichi Sakamoto; Producer, Lucille Reyboz, Yusuke Nakanishi; Sound programming, Satoshi Hama; Video programming, Ken Furudate, Ryo Shiraki. 7:47
20.Ryuichi Sakamoto, “Undercooled (Alva Noto Remodel)” from Bricolages (2006 Warner Music Japan). Rap, MC Sniper; Remix, Alva Noto. This is an interesting album of Sakamoto remixes with a rap track reimagined by the mixing of Carsten Nicolai. 4:44
21.Ryuichi Sakamoto, “A Wongga Dance Song” from Esperanto (1985 School). Composed, Arranged, and performed by, Ryuichi Sakamoto. This is one of Sakamoto’s early explorations of the power of the digital sampler and editing. Music created for a dance performance by the company Molissa Fenley and Dancers. 10:06
22.Ryuichi Sakamoto, “20220214” from 12 (2023 Commons). Composed, produced, performed by Ryuichi Sakamoto. In answer to a question about how these recordings were done, Sakamoto replied: “They were all recorded in the small studio that was in my temporary abode in Tokyo. Depending on the piece, two or four mics were used to record the piano.” More answers to questions by Sakamoto are found here. 9:10
23.Ryuichi Sakamoto, “20220304” from 12 (2023 Commons). Composed, produced, performedby Ryuichi Sakamoto using sounding objects such as stones, chimes, and fragments of pottery. 1:09
24.Ryuichi Sakamoto, “Life, Life” from Async (2017 Commons). Japanese release. Music and production by Ryuichi Sakamoto. Sho, Ko Ishikawa; Vocals, Luca; Spoken Word, David Sylvian; Words by, Arseny Tarkovsky. 4:24
Opening background tracks:
- Ryuichi Sakamoto, “Before Long” from Neo Geo (1987 CBS). Piano, Ryuichi Sakamoto. 1:20
- Ryuichi Sakamoto, “Ulu Watu” from Esperanto (1985 School). Composed, Arranged, and performed by, Ryuichi Sakamoto. Music created for a dance performance by the company Molissa Fenley and Dancers. 3:57
Opening and closing sequences voiced by Anne Benkovitz.
Additional opening, closing, and other incidental music by Thom Holmes.
See my companion blog that I write for the Bob Moog Foundation:
The recent story about Ryuichi Sakamoto on NPR can be found here.
Additional opening, closing, and other incidental music by Thom Holmes.
2. Selecting the materials: Once you have determined the intention, choose the materials that resonate with your purpose. Common materials used for making amulets include stones, crystals, metals, wood, herbs, or even personal objects with sentimental value. Research the symbolic meanings and properties of different materials to ensure they align with your desired outcome. 3. Gathering supplies: Collect the necessary supplies for making your amulet. This may include the chosen materials, such as gemstones, beads, charms, or herbs, as well as tools like pliers, wire cutters, glue, and strings or chains for making the amulet wearable. 4. Designing your amulet: Plan the design of your amulet based on the chosen materials and purpose. Consider the shape, color scheme, and arrangement of elements to create a visually pleasing and energetically aligned symbol. You can use sketches or create a vision board to help you visualize the final design before assembling the amulet. 5. Assembling the amulet: Start assembling your amulet according to your design. Use your tools to attach stones, charms, or other elements securely. If you are including personal objects, find a way to incorporate them into the amulet. Pay attention to the symbolism of each piece and how they interact with each other to amplify the intended energy. 6. Charging and blessing: Once you have completed the physical aspect of your amulet, you need to charge it with your intention. Hold the amulet in your hand, close your eyes, and visualize the desired outcome. Speak or think words of affirmation and affirmation, infusing the amulet with your energy. You can also perform a ritual or blessing ceremony if it aligns with your beliefs. 7. Using and maintaining the amulet: Your amulet is now ready to be used. Wear it as a necklace, bracelet, or carry it in a pouch. Keep it close to you to maximize its effects. Remember to cleanse and recharge your amulet regularly to maintain its energy. You can use methods like moonlight, sunlight, incense, or sound to cleanse and recharge the amulet when needed. By following these steps, you can create a personal and meaningful amulet that aligns with your intentions and beliefs. Always remember that the true power of an amulet comes from within you, and it serves as a symbolic tool to enhance your own energy and focus..
Reviews for "Discovering the ancient rituals of amulet creation: Secrets revealed"
1. John - 2 stars
I was really disappointed with "How to make an amulet". The instructions were unclear and confusing, making it difficult to follow along. Additionally, the materials needed for the amulet were not readily available, requiring me to search high and low to find what I needed. The end result was also underwhelming, as the amulet didn't look anything like what was shown in the book. Overall, I wouldn't recommend this book to anyone looking to make their own amulet.
2. Sarah - 1 star
I had high hopes for "How to make an amulet", but it completely fell short of my expectations. The writing style was dry and uninspiring, making it difficult to stay engaged throughout the book. The instructions were also vague and lacked necessary details, leaving me feeling frustrated and discouraged. The lack of visual aids or step-by-step illustrations further compounded my issues, as I found it difficult to visualize what I needed to do. Save yourself the disappointment and find a different book if you're interested in making your own amulet.
3. Alex - 2 stars
I found "How to make an amulet" to be lacking in practicality. The author seemed more focused on providing obscure historical facts and superstitious beliefs, rather than providing straightforward instructions for making an amulet. The book was also filled with lengthy anecdotes that didn't add any value to the content. While it may have been interesting from a historical perspective, it didn't fulfill my desire to actually learn how to create an amulet. I would recommend looking for a more practical and instructional guide elsewhere.
4. Emily - 3 stars
While "How to make an amulet" had some interesting information about the history and significance of amulets, it failed to deliver on its promise of providing clear instructions on how to make one. The technical aspects of the process were glossed over, leaving me feeling confused and unsure. The lack of visual aids or diagrams made it even more challenging to grasp the steps involved. If you're looking for a book that serves as more of a historical reference, then this might be worth a read. However, if you're seeking a practical guide to actually making an amulet, I would suggest looking elsewhere.