Masayoshi Fujita – ‘Migratory’ album review: Evocative soundscapes for the soul

Posted On September 5, 2024September 5, 2024

THE SKINNY: In 1975, after releasing his first ambient record, Discreet Music, the legendary producer Brian Eno defined the genre as music “intended to induce calm and a space to think.” He added, “Ambient music must be able to accommodate many levels of listening attention without enforcing one in particular; it must be as ignorable as it is interesting.” By this definition, Masayoshi Fujita has truly excelled in his latest solo offering, Migratory.

The Japanese vibraphonist, marimba player and master producer returned to his home country in 2020 after 13 years living in Berlin. The cinematic soundscapes in Migratory seem to celebrate both locations, with prominent nods to Japanese ambient traditions throughout and synthesised textures reminiscent of the krautrock stylings of Tangerine Dream and David Bowie’s celebrated Berlin Trilogy.

Fujita, like most commanding voices in the ambient world, operates in emotional movements. This discerning collection of songs flows through moments of intensity, providing space for thought. Key-based melodies provide bright optimism, which is juxtaposed in places by looming clouds of hazy synth and resonating woodwind intrusions. Even in its darker regions, Migratory is cathartic and spiritually edifying.

To add a nuance of variety to his new album, Fujita collaborated with guest vocalists on two of the 11 tracks. On side one, he brings in the American poet and musician Moor Mother, who delivers an evocative spoken-word passage in ‘Our Mother’s Lights’. Later, Fujita welcomes Hatis Noit to provide a more musical vocal performance in ‘Higurashi’. Between these two points of human contact, the listener is taken on a voyage to isolated regions of the universe, from the valleys to the stars. 

For fans of: Birdsong, vast landscapes and solitary trips. 

A concluding comment from Alan Partridge: “Remove your shoes, place them side by side and out of sight, recline, and ,finally, spin this magnificent record. Enya, eat your heart out.”

‘Migratory’ track by track:

Release Date: September 6th | Producer: Masayoshi Fujita | Label: Erased Tapes

‘Tower of Cloud’: As the title suggests, this opener is soft, sequential and of lofty stature. Vibraphone and keyboard tones echo throughout with subtle nuances that ebb and flow. [4/5]

‘Pale Purple’: A synthetic hum brings texture to the opening. Like white noise, it fills the void and frees the mind before sweet melodies cut through the consciousness. The emotions are neither downcast nor upbeat. [3.5/5]

‘Blue Rock Thrush’: A harmonious vibrato takes the place of the previous track’s background texture in a more detailed progression. Pleasant melodies adorn proceedings, evoking positive yet pensive emotions. [4.5/5]

‘Our Mother’s Lights’: In the most intense song so far, Moor Mother gives a rare vocal contribution to the album. The voice is an assertive whisper that demands attention without jarring us from the ambient experience. [3.5/5]

‘Desonata’: This instrumental gem blossoms through several grows in stature slowly with a gentle chiming melody. With the eyes closed, this one paints vivid colours. [4/5]

‘Ocean Flow’: While remaining crucially tranquil, ‘Ocean Flow’ comes in soft waves of instrumentation, with a background hiss qualifying the aquatic title. [4/5]

‘Distant Planet’: As the title suggests, this one is evocative of the remoteness of space. The simple vibraphone intro is accompanied only in the second half of the song by a soft synth texture. [3/5]

‘In a Sunny Meadow’: After a comparatively sparse track, this busier composition is more than welcome. Several instrumental melodies cascade around one another, sharing moments of prominence. [4.5/5]

‘Higurashi’: The central instrumental in this track is the rhythmic vocal of collaborator Hatis Noit. Otherwise, the textures keep a low profile, with some pleasant sounds of nature at the close. [4/5]

‘Valley’: The valley this conjures in the mind’s eye is dry and cavernous. The wind whispers through echo chambers devoid of civilisation, emptying our headspace for optimal relaxation and reflection. [4/5]

‘Yodaka’: For our final feast, Fujita waves goodbye with a true highlight. The oscillating ambience grows subtly with echoing, distant instrumentation. By the end, the sound is intense and affecting. [4.5/5]

Related Topics