This really got me completely, and reminded me how much i am touched by the work of mr sakamoto. and how much he is missed. I'm crying, but in a good way thank you
Thanks so much for your words, Steven. When I composed and presented this live, Sakamoto was still alive in the flesh. He’ll always remain alive in our hearts and minds 🙏🏻
Thanks. You can check the EP featuring the music from this performance at my Bandcamp page. Your support is much appreciated. alexfx.bandcamp.com/album/hell-is-empty-and-all-the-devils-are-here-ep-bandcamp-edition
@@ZJProz well, since I wrote this new arrangement after the original composition (even when the original is an open structure experimental piece), we can consider it as a recomposing procedure, since I had to figure out the basic notes consonant with David vocal takes and build around it. I don’t take the easy road of dropping a vocal part over an instrumental track and call it a remix or whatever. I work really hard on each of the (4 until now) recompositions I did for him. I don’t get any profit from this. I do it out of much love and respect for his work and as a humble homage to him in life.
@@garethde-witt6433 Dear Gareth, thanks for your message. In terms of copyright, the music is mine and I’m not charging or receiving any penny from it, as I’m not selling nor profiting from it. All credits are presented as being originally from David and Universal Music. I know my rights just as well as the artist’s. Just as much as you are entitled not to appreciate them. You just don’t have the right to tell me to do otherwise. You have the simple option of not listening and not liking it and I’ll be fine with that. Kind regards. Alex
@@garethde-witt6433 more so, the fact that Universal allows the reworks to be online (yes, they know about it) proves that for each view they (and David) get their share.
Thank you for this. It’s very powerful emotionally. David’s original was written over some dark, atonal improvisations - and part of David’s genius is his ability to find melody and beauty in such seemingly austere source material. I still love the original. But your reimagining of the song provides a counterpoint to that unforgiving darkness. It reminds me of that famous line of Leonard Cohen: “There is a crack in everything, that's how the light gets in.”
Very much so. Thanks so much for your words. I do find all the beauty on the original versions but recomposing them does open new perspectives, despite the immense hard work on doing them. I hope I can finish doing all of the Manafon tracks (4 so far), but it’s a mammoth task I want to complete while we still have him alive. 🙏🏻
@@mico5678 I thank you for the encouragement but his body of work is beyond outstanding. Rearranging from original open structure compositions such as the ones on Manafon is a mammoth task I took upon myself. At the moment, 4 are already done. More to come (on their due time).
I have but one word for this (and the other tracks you have reworked so far) - Sublime. As the sounds and the atmosphere build up one almost aches to hear Sylvians voice, and when you chose to allow them in... tears flowed. Such moments are rare, thank you
Manfon was a challenging album for me. Lyrically and melodically adventurous but so raw and almost painful to listen to. This recomposing is a beautiful addition. Hopefully you will do more. 🤟
Thank you so much for your words, Peter! Yes, I've already done 4 versions/recompositions (you can find the other 3 on this channel). I'll be trying my best to do all of the "Manafon" album.
Thank you for your words. Re process: I don’t trust in AI to fully accomplish that sort of task, because it simply processes without understanding - pure mathematics - so I do it via frequency separation - a lot harder but much more rewarding in terms of the final product. There’s also the fact that the original material consists of voice and assorted noises and some occasional (tonal) instruments. I divide the original song in verses and place them alongside my music, first to work the voice timings/metrics of it and only after I go to work on the parts that need more absence of the original recorded noises. There are times I use the original noises on the recomposed versions. It’s hard work, trust me, but I do it gladly.
Thanks again for your words. Random footage edited by me. The music was composed and played by myself. Not sure if Sylvian knows about it but I seriously doubt he’s not aware of ;)