Beyond the Circle (1996) - Osamu Kitajima

Review #25

ALBUM INFO

Artiste:  Osamu Kitajima

Year:  1996

Genre:  New Age / Oriental

Duration:  51 mins

Label:  East Quest Records

Format:  CD

TRACK LISTING

1. ‘Beyond the Circle’ – 5:17
2. ‘Mind Thieves’ – 4:44
3. ‘Darkness Desired’ – 5:15
4. ‘Blue Fire’ – 5:23
5. ‘Evening Privilege’ – 5:14
6. ‘The Bush Warbler’ – 6:00
7. ‘Fading Sky’ – 3:50
8. ‘Bonito Moxie’ – 5:03
9. ‘Goldfish Lingo’ – 4:46
10. ‘Distant Episode’ – 5:03

Listen on Spotify: https://open.spotify.com/album/3DY5us8IQIDV5hKJQxu4nS

CAPSULE REVIEW

In the early ‘90s, the sound of ‘Osamu’ reached its musical peak with his masterful albums Mandala (1991) and Behind the Light (1992).  A four-year hiatus followed, but in 1996, Osamu Kitajima returned with an album that charted a brand new direction and expanded his musical sensibilities as an artist. 

Beyond the Circle is a fusion album of East (organic Japanese instruments with traditional Geisha-esque voice-work) and West (modern synthesized layerings and rhythms).  The result is no doubt fascinating, in particular the album’s fresh arrangements that seem to suggest unlimited possibilities for East-West fusion compositions in the genre of new-age and electronic music.  Put yourself in 1996, and this album would begin to feel radical.

In fact, it almost straddles into dance and trance music territory, without the cookie-cutter artifice.  Each track has its own unique properties, yet musically, the album has a consistent new sound.  Kitajima would try to replicate that ‘sound’ again in the album Two Bridges Crossing (2008), in itself an interesting hybrid album, but executed less successfully. 

Highlights:

‘Beyond the Circle’ – The title track is also my favourite.  Starts off with percussion, shamisen, and a groovy electronic rhythm, before a synth flute melody comes into play.  Throughout the piece, we are treated to superb arrangements of electronic layers and koto.  Traditional Japanese voice-work also punctuates the music playfully.  No matter how long this is on repeat, it doesn’t get tiring. 

‘Mind Thieves’ – Strong rhythms keep this track lively.  The melody is performed on koto, while some of the most invigorating voice-work of the album comes in the chorus of this track. 

‘The Bush Warbler’ – A deep-synth instrument and voice-work begin the track.  There’s no distinctive melody here, but there’s a range of instruments used, including shakuhachi, electric guitar, and a myriad of electronic layerings.  At about 2:40, there’s a bridging section with beautiful vocalization and taiko drumming, possibly the most memorable moment of the album. 

Reviewed on Luxman Stereo Integrated Amplifier A-383, Marantz Compact Disc Player CD-63SE, and a pair of 1973 New Advent Loudspeakers.

Sound Quality:  Superb recording 

Rating:  

Over the Brink (2013) - Osamu Kitajima

Review #22

ALBUM INFO

Artiste:  Osamu Kitajima

Year:  2013

Genre:  New Age / Oriental

Duration:  45min

Label:  East Quest Records

Format:  CD

TRACK LISTING

1.       ‘In Every Step’ – 9:46

2.       ‘Axial Rotation’ – 4:58

3.       ‘Crossroads’ – 4:12

4.       ‘Wadachi in Its Wake’ – 13:06

5.       ‘Evening Wings’ – 4:07

6.       ‘A Narrow Way to the Hill’ – 9:00

Listen on Spotify: 

https://open.spotify.com/album/0oWtyYT17TWEdNsLBdR6jP

CAPSULE REVIEW

A masterful return to the new age meditative music that he is most well-known for, Osamu Kitajima's Over the Brink is a cause for celebration, among fans of his that is.  Kitajima has been one of the most underrated musicians in the realm of oriental new age and east-west hybrid electronic music over the last forty years—he even predates Kitaro, his more prolific Japanese counterpart who has largely overshadowed him.

Over the Brink is one of Kitajima's finest achievements to date, and in my opinion, one of the top three albums of his discography.  Possessing a modern touch but retaining the artiste's trademark sound and arrangements, the album is an inspired musical extension of two of his most beloved recordings—Mandala (1991) and Behind the Light (1992). 

Each of the six tracks are fantastic to listen.  Apart from the highlights below, ‘Axial Rotation’ is an intriguing piece with a very strong bass line, as if something is constantly turning, while ‘Evening Wings’ sees Kitajima at his straightforward best.  ‘A Narrow Way to the Hill’ combines some ethereal voice work with more meditative stylings.  It feels like a spiritual trek up a steep hill, never stopping, and always flowing.  There’s a jazz-inspired midsection, perhaps alluding to a heavenly rendezvous with a few celestial nymphs. 

Highlights:

‘In Every Step’ – At nearly ten minutes long, this echoes elements from the title track in Mandala.  The airy sounds of the shakuhachi floats with freedom, as if spiraling the listener up into the clouds.

‘Crossroads’ – Also an unmistakable Kitajima piece with intense soundscapes and a flowing, journeyistic melody.  There's a brilliant bridging midsection with cymbals and a loose impression of the rhythm of 'Pure Land in the West', also from the album Mandala.  My personal favourite of the lot.

‘Wadachi in Its Wake’ – Kitajima is no stranger to lengthy tracks, and this is one of his best.  Thoroughly engaging with the use of traditional Japanese instruments and percussion, this piece is made up of a recurring set of energetic melodies with several bridges performed solo separately on koto, shamisen and biwa.  Quite a modern throwback to the arrangements of his earlier albums like Masterless Samurai (1980) and The Source (1984).

Reviewed on Luxman Stereo Integrated Amplifier A-383, Marantz Compact Disc Player CD-63SE, and a pair of 1973 New Advent Loudspeakers.

Sound Quality:  Excellent, dynamic recording

Rating:

Behind the Light (1992) - Osamu Kitajima

Review #13

ALBUM INFO

Artiste:  Osamu Kitajima

Year:  1992

Genre:  New Age / Oriental

Duration:  39min

Label:  Aifa Publishing

Format:  CD

TRACK LISTING

1.       ‘Behind the Light’ – 4:11

2.       ‘Yesterday’s Child’ – 4:41

3.       ‘Mystic Whisk’ – 6:09

4.       ‘The Three Orders’ – 4:44

5.       ‘Wings of Knowledge’ – 12:42

6.       ‘Forbidden Green’ – 5:56

CAPSULE REVIEW

Behind the Light is a superb album by the vastly underrated Japanese new age musician Osamu Kitajima.  Along with Mandala (1991), this album can be regarded as a masterpiece, coming during a point in the composer’s career during the early 1990s when he was more attuned to Zen Buddhism and oriental philosophy, a path that he somewhat started on with the 1984 album The Source.  

Featuring only six tracks (in other versions, there is an additional track called ‘Small Wonder’), Behind the Light is such a gem to indulge your ears in.  This is one of those albums that you will play again and again for many, many years.  

The title track and ‘The Three Orders’ feature fantastic use of the electric guitar, performed by Kitajima himself that echoes his use of the instrument in some of his more pop and jazz-infused tracks of the 1980s.  There is also plentiful use of the koto (a plucked string instrument), best exemplified by the first couple of minutes of ‘Mystic Whisk’. 

With the exception of ‘Wings of Knowledge’, while well-intentioned as a meditative piece but feels a tad too drawn-out towards the end, all the other tracks are fascinating in their arrangements of both synthesizers and organic instruments and percussion.  

Behind the Light is one of Kitajima’s very best works – the sound of ‘Osamu’, as fans would describe, is also most developed in this album. 

Highlights:

‘Mystic Whisk’ – One of Kitajima’s most accomplished compositions, with superb arrangements of a myriad of both organic and synth instruments.  A solo koto gives way to an elaborate buildup of percussion and drums that would accompany a simple if zen-like melody performed on the synthesizer and also the koto. 

‘Forbidden Green’ – Starts off ominously, but becomes a terrific melding of a strong, purposeful beat, and a journeyistic melody that repeats many times with different synth-created instruments.  It ends off with the piercing shakuhachi, capping my favourite track of the album.  This piece makes you feel like you are on an adventure – there’s a sense of danger and excitement.

Reviewed on Luxman Stereo Integrated Amplifier A-383, Marantz Compact Disc Player CD-63SE, and a pair of 1973 New Advent Loudspeakers.

Sound Quality:

Superb recording with crystal sharp sounds

Rating:

The Source (1984) - Osamu Kitajima

Review #3

ALBUM INFO
Artiste:  Osamu Kitajima
Year:  2010 (originally released 1984)
Genre:  New Age / Oriental
Duration:  51min
Label:  East Quest Records
Format:  CD

TRACK LISTING
1.  'Heavensent' - 25:18
2.  "Through Cosmic Doors' - 12:15
3.  'Eye to I' - 13:18

CAPSULE REVIEW

I think this is an Osamu Kitajima album that I have grown to like.  Released in 1984 after such innovative early albums as Benzaiten (1976) and Masterless Samurai (1980), The Source has the beginnings of what would later be considered the ‘sound’ of Osamu in such refined masterpieces as Behind the Light (1992) and Over the Brink (2014).  It’s hard to describe what that sound is, but it is most evident (and accessible) in those two albums, which I strongly recommend. 

One of the longest tracks ever recorded that is not a live concert piece, ‘Heavensent’ is also regarded as one of the greatest works of the new age genre, somewhat akin to the ‘Seven Samurai’ of samurai pictures.  It starts off with a heavenly harp prelude that eases us into the main melody – an astonishing arrangement of acoustic guitar, guzheng, violin, synthesizers and percussion.  In true Osamu style, the melody repeats through various instruments, with structural breaks of solo harp, percussion, guzheng or acoustic piano. 

The third track ‘Eye to I’ is more Chinese-music sounding, but has interludes of orientalized jazz.  It is in my opinion the weakest track of the lot, but has enough to warrant repeated listening.  My favourite is “Through Cosmic Doors”, a piece with an addictive beat set by the Japanese koto.  It is brilliantly augmented by a groovy synthesized bass, and layered with percussion with breaks of shakuhachi.  If you are an Osamu Kitajima fan, The Source is a must-have.

Reviewed on Luxman Stereo Integrated Amplifier A-383, Marantz Compact Disc Player CD-63SE, and a pair of 1973 New Advent Loudspeakers.

Sound Quality:
Superb recording with crystal-clear sound quality

Rating: