In an age when I can press ‘publish’ and this article will be instantly available to read in the farthest reaches of the globe, and where we can carry our laptops, tablets or smartphones with us wherever we go, it’s difficult to put yourself in the position of Masaki Sekijima back in 1986. I caught up with Masaki, who first shared some background: ‘I joined Ryuichi Sakamoto’s office in late 1984 and was assigned to be his instruments assistant in late 1985.’ The following year, a new project was on the horizon which would require Sakamoto to obtain a visa allowing him to work short-term in the UK. A young Masaki was invited to accompany him on the trip. ‘I was his only staff member who knew how to use or set up his regular instruments at the time.’
Ryuichi had discovered a song by the English singer Virginia Astley and ultimately this interest led to an assignment as producer for her second solo album – and to Masaki’s involvement for which he would receive an album credit for programming. A record company press release later gave more detail: ‘It was a single of ‘Darkness Has Reached Its End’ which initially caught Sakamoto’s attention. In Japan, he had treasured an import copy of that early and acclaimed work, and immediately counted himself an Astley admirer. Seeing a certain empathy of style and wanting the opportunity to shape her compositions into something more rigid, innovative and exciting, yet retaining her sentiment, Sakamoto happily agreed to the proposed teaming for the project.’ (Geffen Records, 1988) Continue reading “Some Small Hope”
