The truth is probably somewhere in between. Or maybe, instead of any artistic exhaustion, the album's approach was intended more to capitalize on a piece of music called 'energy flow,' of which he composed 30 seconds for a commercial before it became an unlikely chart success, leading him to extend its run time to 4:33 on BTTB. Even BTTB's song lengths, which generally hover around four minutes, illustrate a desire to reorient, experiment and rediscover. With Discord - which is unavailable digitally - Sakamoto channeled his deep distress over Africa's dire sociopolitical climate into four movements: 'Grief,' 'Anger,' 'Prayer' and 'Salvation.' It's clear that Sakamoto put all of his emotional and creative energy into crafting Discord's dense, impassioned compositions having completed it, the magnetic pull of a silent room and a single piano seems self-evident. The Yellow Magic Orchestra song 'tong poo' is reinterpreted, shifting from a bass-heavy montage of wacky synth work into a frenetic, virtuosic performance.Ĭonsidering BTTB in the context of Sakamoto's previous album, a torrential orchestral suite compiled under the name Discord in 1997, is maybe helpful in understanding the dramatic serenity of its follow-up. Elsewhere, Sakamoto's experimental urges are irrepressible: 'do bacteria sleep?' is a trippy, synthy jaw-harp excursion, while 'uetax' is a composition written in prayerful water. The standouts among BTTB's 18 tracks - 'lorenz and watson,' 'chanson,' 'aqua' and 'reversing' in particular - all pensively saunter and toy with negative space as pronounced as any of the piano's notes, with the distinct feeling of a master in a mode of deep play with his first instrument. It's hard, having heard BTTB and read Murakami's ruminative deployment of it, to imagine the record accompanying any other scene. In the liner notes that accompany BTTB's reissue, novelist and music obsessive Haruki Murakami writes that he listens to the album alone, during his early-morning routine, while preparing to work.

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