Susumu Yokota ‎– Acid Mt.Fuji

Label:
Sublime Records (3) ‎– Srcd. 101
Format:
CD, Album
Country:
Released:
Genre:
Style:

Tracklist

1 Zenmai 4:08
2 Kinoko 7:39
3 Meijijingu 6:50
4 Saboten 6:06
5 Oh My God 4:59
6 Tambarin 8:19
7 Oponchi 4:25
8 Ao-oni 6:17
9 Akafuji 7:24
10 Alphaville 8:56
11 Tanuki 8:48

Companies, etc.

Credits

Notes

Executive producer: Katsuo Michishita (Music Mine Co., Ltd.)
Label producer: Manabu Yamazaki (Sublime records)
A&R Masato Tani (The Pop Group)
Recorded at: Yokota's house

Thanks to: Tokyo posse
Hidequi Amano (Music Mine Co., Ltd)

1994 Sublime records
©℗ Music Mine Co., Ltd.

Released in gatefold cardboard sleeve.

Barcode and Other Identifiers

  • Matrix / Runout (Mirrored): SRCD-101 D6858 C
  • Rights Society: JASRAC

Reviews Show All 4 Reviews

Add Review

Weareonenation303

Weareonenation303

May 27, 2015
edited 8 months ago

I am the only one here who thinks that this CD is overrated here at Discogs and sounds very dull and boring? Like the below reviewer mentions, "Tanuki" is a good (and only good track in this album.). But only worth picking up if you can find this CD stupidly cheap and not purchase it at the medium-high price it tends to sell here. The other tracks are a boredom fest. If fact, everytime I listened to the other tracks, they sound more and more forgettable and dated. "Subliminal" Really???? Sorry to burst anyones bubbles. It just sounds to me like very flat and uninspiring experimental music. My two cents.
Max16032

Max16032

December 26, 2011
edited over 3 years ago
Abstract melodies and experimental rhythms, layered under sonic elements of nature, and robotic sci-fi noises...This album portrays one of Japan's most famous landscapes in a futuristic way. It saw the light during the 90's decade, the truly golden era of electronic music.

I read somewhere that this was one of Yokota's first forays into electronic music. Something tells me that he passed many years studying and researching about how to play and make music with analog gear in a professional way before making recordings. This man really knows how to get amazing sounds out of a synth and do serious knob tweaking with it. The way he can bend and fold the sound of a TB-303 with such skill and mastery have make me believe that.

With the term "Acid" in its title, you can expect the kind of sounds that are present in this album. In fact, bubbling sequences, long passages of drone, minimalistic patterns...all this elements are combined to create an unusual sci-fi film inspired ambient. Yokota relies heavily on analog machines, being his favorite the Roland 303 machine. Like I said earlier, he is capable of pulling off some great sounds from that little box, and knows when to tweak the right knobs at the right time.

Some reasons of why "Acid Mt. Fuji" is a must-have:

- Sound Quality: Yokota may be a great synth programmer, but he also have serious skills in audio engineering. The audio quality of all tracks is incredibly pristine, well mixed and mastered.
- Influences: The film Blade Runner was probably an important inspiration for this work. Some tracks sound so futuristic, that many would believe they come from the year 2019!

Some flaws:

- Approach: Perhaps this is the main reason why this album got overlooked during the 90's: It's not ENTIRELY dancefloor-oriented (or DJ-friendly). While many tracks rely on the 909 Roland machine, and have steady 4-to-the-floor rhythms, the main focus are the long beat-less ambient segments, and eerie polyphonic landscapes. This is truly an album that needs to be listen to, not just dance.
- Dating: While the sound of this production just screams futurism, due to the primitive nature of the analog machines of the 90's some tracks sound out-dated. (Please note that out-dated doesn't mean uninspired.)

1. Zenmai: The introduction. It combines the sound of birds and nature with a long 303 melody. After that, a rhythmic part driven by the TR-909's toms and rimshot sounds appears and continues until the end.
2. Kinoko: The nature sounds make a comeback, but now paired with a drone-like, analog-driven eerie sequence. Like Zenmai, this section is then followed by a rhythmic part, but with a downtempo feeling, rather than a straight 4-to-the-floor. This track is perfect as a set opener.
3. Meijijingu: This is the first truly danceable track of the album. The main 303 melody captures a truly "oriental" essence and its repeated many times and with many variations during the course of the track. Again, this track is divided into two sections.
4. Saboten: This is my third favorite track of the album, and truly shows Yokota's melodic abilities. The intro shows a main theme which is a laidback, long slided 303 pattern that transforms over time. It continues repeating while the 909 kickdrum appears and oriental percussions hare heard in the background.
5. Oh My God: The most "experimental" track of the album. Dependant of the 303 and the 909 with a "alien" sounding synth pattern repeating in the background.
6. Tambarin: The most outdated track in the album, and one of my least favorites. Basically, is the sound of the TR-909 rimshot continuously beating with a flanger effect, paired with other sounds of the machine itself. Danceable, but quite minimalistic and dull.
7. Oponchi: Similar basis of Tambarin, but with a slightly delayed 303 sequence. The addition of sci-fi bleeps and interesting sound effects (You can even hear a cuckoo-clock in the background) makes it a more appealing track than the last one.
8. Ao-Oni: Phuture-Inspired Acid House fans will love this. After the showoff of a undulating 303 pattern, comes the stomping 4-beat kickdrum of the 909, giving the classic 80's house feel. The real deal comes when a second 303 pattern, extremely distorted and more aggresive that the first one, comes along. This track could cause mass hysteria in the dancefloor if properly played.
9. Akafuji: My second favorite track in the album, and an impressive multi-layered acid beauty. Listening this from start to finish is quite a journey. A steady rhythm and morphing 303 sequences keeps chewing in the background, while reverberations really add space and atmosphere to the main ambient. An amazing piece of music that can be easily overlooked.
10. Alphaville: For the hardcore fans. An incredibly deep and punchy kickdrum that makes speakers rattle is the main element of this track. Other details like 909 sound are later added, but without losing the focus of the distorted beat.
11. Tanuki: This is it. Definitely the best track of the album, and my personal favorite. It represents the album as a whole, and resumes almost all of the musical elements used in it, like rhythm (Interestingly, the main rhythmic structure is NOT 4-to-the-floor, but it just FEELS like it is), minimalism (An oriental melody with a cricket-based sequence plays as a constant during the playback), experimentation (weird 303 acid patterns add a perfect touch) and structure (Starts with a futuristic landscape, and finishes with ocean waves, giving the album a great ending). Listen to this track first if you want to know what this album is all about. If you like it, then you'll like all this production.

Yokota probably just wanted to portray the Mount Fuji in a futuristic Tokyo. And does it brilliantly during the process. If you love the creamy and phat sound of the analog gear, specially the ones made by Roland (303, 909, etc.), buy this album. You'll love it!

A truly seminal production, and a must-have for anyone who truly appreciate the electronic music from the 90's