Yellow Magic Orchestra: Difference between revisions

Latest revision as of 05:34, 30 October 2025

Script error: No such module "For".Template:Short description Template:Use mdy dates Script error: No such module "Infobox".Template:Template other Template:Main otherScript error: No such module "Check for unknown parameters".Template:Main other Yellow Magic Orchestra (abbreviated to YMO) was a Japanese electronic music band formed in Tokyo in 1978 by Haruomi Hosono (bass, keyboards, vocals), Yukihiro Takahashi (drums, lead vocals, occasional keyboards) and Ryuichi Sakamoto (keyboards, vocals).^[1] The group is considered influential and innovative in the field of popular electronic music.^[1]^[2] They were pioneers in their use of synthesizers, samplers, sequencers, drum machines, computers, and digital recording technology,^[1]^[3]^[4] and effectively anticipated the "electropop boom" of the 1980s.^[5] They are credited with playing a key role in the development of several electronic genres, including synthpop, J-pop, electro, and techno, while exploring subversive sociopolitical themes throughout their career.^[6]

The three members were veterans of the music industry before coming together as YMO, and were inspired by eclectic sources, including the electronic music of Isao Tomita and Kraftwerk, Japanese traditional music, arcade games, funk music, and the disco productions of Giorgio Moroder. They released the surprise global hit "Computer Game" in 1978, reaching the UK Top 20 and selling 400,000 copies in the U.S. For their early recordings and performances, the band was often accompanied by programmer Hideki Matsutake.^[7] The group released several albums before pausing their activity in 1984. They briefly reunited several times in subsequent decades before Takahashi and Sakamoto's deaths in 2023.

History

1976–1978: early years and formation

Prior to the group's formation, Sakamoto had been experimenting with electronic music equipment at the Tokyo National University of Fine Arts and Music, which he entered in 1970, including synthesizers such as the Buchla, Moog, and ARP.^[8] The group leader Haruomi Hosono had been using an Ace Tone rhythm machine since early in his career in the early 1970s.^[9] Following the break-up of his band Happy End in 1972, Hosono became involved in the recording of several early electronic rock records, including Yōsui Inoue's folk pop rock album Kōri no Sekai (1973) and Osamu Kitajima's progressive psychedelic rock album Benzaiten (1974), both of which utilized synthesizers, electric guitars, electric bass, and in the latter, electronic drums, and rhythm machines.^[10]^[11] Also around the same time, the band's future "fourth member" Hideki Matsutake was the assistant for the internationally successful electronic musician Isao Tomita. Much of the methods and techniques developed by both Tomita and Matsutake during the early 1970s would later be employed by Yellow Magic Orchestra.^[7]^[12]

Sakamoto first worked with Hosono as a member of his live band in 1976, while Yukihiro Takahashi recruited Sakamoto to produce his debut solo recording in 1977 following the split of the Sadistic Mika Band. Hosono invited both to work on his exotica-flavoured album Paraiso, which included electronic songs produced using various electronic equipment. The band was named "Harry Hosono and the Yellow Magic Band" as a satire of the idyllic perception of pacific and Hawaiian music America had been obsessed with ^[13] and in late 1977 they began recording Paraiso, which was released in 1978.^[14] The three worked together again for the 1978 album Pacific, which included an early version of the song "Cosmic Surfin".^[15]

Hosono and Sakamoto also worked together alongside Hideki Matsutake in early 1978 for Hosono's experimental "electro-exotica" fusion album Cochin Moon, which fused electronic music with Indian music, including an early "synth raga" song "Hum Ghar Sajan".^[16] The same year, Sakamoto released his own solo album, The Thousand Knives of Ryuichi Sakamoto, experimenting with a similar fusion between electronic music and traditional Japanese music in early 1978. Hosono also contributed to one of Sakamoto's songs, "Thousand Knives", in the album.^[17] Thousand Knives was also notable for its early use of the microprocessor-based Roland MC-8 Microcomposer music sequencer, with Matsutake as its music programmer for the album.^[18]^[19]

While Sakamoto was working on Thousand Knives, Hosono began formulating the idea of an instrumental disco band which could have the potential to reach success in non-Japanese-language territories, and invited Tasuo Hayashi of Tin Pan Alley and Hiroshi Sato of Huckleback as participants, but they declined.^[19] Hosono, Sakamoto and Takahashi eventually collaborated again to form the Yellow Magic Orchestra and they began recording their self-titled album at a Shibaura studio in July 1978.^[20]

1978–1983: National and international success

File:Yellow Magic Orchestra YMO (1981 Press Photo).jpg

YMO in 1981

The band's 1978 self-titled album Yellow Magic Orchestra was successful and the studio project grew into a fully fledged touring band and career for its three members. The album featured the use of computer technology (along with synthesizers) which, according to Billboard, allowed the group to create a new sound that was not possible until then.^[21] Following the release of the album Yellow Magic Orchestra, a live date at the Roppongi Pit Inn was seen by executives of A&M Records of the USA who were in the process of setting up a partnership deal with Alfa Records. This led to the YMO being offered an international deal, at which point (early 1979) the three members decided the group would be given priority over their solo careers. The most popular international hit from the album was "Firecracker", which would be released as a single the following year and again as "Computer Game", which became a success in the United States and Europe.Script error: No such module "Unsubst".

Following an advertising deal with Fuji Cassette, the group sparked a boom in the popularity of electronic pop music, called "technopop" in Japan,^[13]^[3] where they had an effect similar to that of the Beatles and Merseybeat in 1960s Britain.^[13] For some time, YMO was the most popular band in Japan.^[13] Successful solo act Akiko Yano (later married to Sakamoto) joined the band for its live performances in the late 1970s and early 1980s, but did not participate in the studio recordings. On the other hand, the YMO trio contributed to her own albums and became part of her live band, during these same years.Script error: No such module "Unsubst". Legendary English guitarist Bill Nelson, who had disbanded Be-Bop Deluxe and Red Noise to more recently explore Electropop himself, likewise played on YMO's Naughty Boys (1983), its non-vocals variant Naughty Boys Instrumental (1984) and subsequent solo Yukihiro Takahashi projects, before featuring the latter on two of Nelson's own UK based releases.

Making abundant use of new synthesizers, samplers, sequencers, drum machines, computers and digital recording technology as it became available, as well as utilizing cyberpunk-ish lyrics sung mostly in English, they extended their popularity and influence beyond Japan.^[1]^[3]^[4]

Their second album, Solid State Survivor, released in 1979, was YMO's pinnacle recording in Japan, winning the 1980 Best Album Award in the Japan Record Awards. It featured English lyrics by Chris Mosdell, whose sci-fi themes often depicted a human condition alienated by dystopic futures, much like the emerging cyberpunk movement in fiction at that time. One of the album's major singles, and one of the band's biggest international hits, was "Behind the Mask", which YMO had first produced in 1978 for a Seiko quartz wristwatch commercial,^[22] and then for Solid State Survivor with lyrics penned by Chris Mosdell. The song was later revised by Michael Jackson, who added new lyrics and had intended to include it in his album Thriller.^[23] Despite the approval of songwriter Sakamoto and lyricist Chris Mosdell, it was eventually removed from the album due to legal issues with YMO's management.^[24] Jackson's version was never released until his first posthumous album, Michael, though his additional lyrics were included in later cover versions of the song by Greg Phillinganes, Eric Clapton, and Ryuichi Sakamoto himself in his 1986 solo release Media Bahn Live.Script error: No such module "Unsubst". Solid State Survivor included several early computerized synth rock songs,^[3]^[25] including a mechanized cover version of "Day Tripper" by the Beatles.^[25]

Solid State Survivor went on to sell over 2 million records worldwide.^[26] By 1980, YMO had become the most popular group in Japan, where they were performing to sold-out crowds. Their first live album Public Pressure set a record in Japan, topping the charts and selling 250,000 copies within two weeks, while their next studio album X∞Multiplies had 200,000 pre-orders before release.^[3] The same year, their albums Solid State Survivor and X∞Multiplies held the top two spots on the Oricon charts for seven consecutive weeks, making YMO the only band in Japanese chart history to achieve this feat.^[27]

The 1980 song "Multiplies" was an early experiment in electronic ska.^[28] X∞Multiplies was followed up with the 1981 album BGM. "Rap Phenomena" from the album was an early attempt at electronic rap.^[29]

They also had similar success abroad, performing to sold-out crowds during tours in the United States and Europe.^[3] The single "Computer Game" had sold 400,000 copies in the United States^[3] and reached No. 17 in the UK Charts. The group also performed "Firecracker" and "Tighten Up" live on the Soul Train television show. At around the same time, the 1980 song "Riot in Lagos" by YMO member Sakamoto pioneered the beats and sounds of electro music.^[30]^[31] The band was particularly popular with the emerging hip hop community, which appreciated the group's electronic sounds, and in the Bronx where "Firecracker" was a success and sampled in the famous Death Mix (1983) by Afrika Bambaataa.^[30]^[32] Meanwhile, in Japan, YMO remained the best-selling music act there up until 1982.^[33]

1984–1993: breakup and brief reunion

The band had paused their group activities by 1984. After the release of their musical motion picture Propaganda, the three members had returned to their solo careers. They were careful to avoid saying they had "split up", preferring to use the Japanese phrase meaning Script error: No such module "Nihongo"., and the trio continued to play on each other's recordings and made guest appearances at live shows. Takahashi, in particular, would play the band's material in his concerts. Meanwhile, Sakamoto would gain international success for his work as a solo artist, actor, and film composer,^[34] winning Grammy, Oscar, and Golden Globe awards.^[25]

Yellow Magic Orchestra released a one-off reunion album, Technodon, and credited it to 'NOT YMO' (YMO crossed out with a calligraphy X) or ~~YMO~~ in 1993.Script error: No such module "Unsubst". Instead of traditional vocals, about half of it features field audio recordings and samples of authors and scientists reading their work.Script error: No such module "Unsubst". During their brief reunion in the early 1990s, they continued to experiment with new styles of electronic music, playing an instrumental role in the techno and acid house movements of the era.^[35]

2002–2023: post-breakup and reformation

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The early 2000s saw Hosono and Takahashi reunited in a project called Sketch Show. On a number of occasions Ryuichi Sakamoto has joined in on Sketch Show performances and recording sessions. He later proposed they rename the group Human Audio Sponge when he participates. The groups Barcelona performance at Sonar festival and Wild Sketch Show DVDs chronicle these reunions, and include a tongue-in-cheek Japanese text-only history of the group that spans to 2036.

The band have reunited in 2007 for an advertising campaign for Kirin Lager which lampooned their longevity and charted No.1 on various Japanese digital download charts (including iTunes Store chart) with the song "Rydeen 79/07", released on Sakamoto's new label commmons. Recently performing live as Human Audio Sponge; Hosono, Sakamoto, and Takahashi did a live performance together as Yellow Magic Orchestra for the Live Earth, Kyoto, event on July 7, 2007, which raised money and awareness of a "climate in crisis".

In August 2007, the band once again reformed, taking the name HASYMO or HAS/YMO, combining the names of Human Audio Sponge and Yellow Magic Orchestra. Their first single under this name, "Rescue", was written for the film Appleseed EX Machina. They released a new two song single titled "The City of Light/Tokyo Town Pages" on August 6, 2008. HASYMO played two live concerts in Europe in the summer of 2008, one at the Royal Festival Hall, London on June 15, as part of the Meltdown festival of music curated by Massive Attack and another in Gijón, Spain, on the 19th. Although the primary YMO members (Yukihiro Takahashi, Haruomi Hosono, and Ryuichi Sakamoto) were effectively known as HASYMO and played both these concerts, these concerts were billed simply as "YMO" but featured only 4 YMO songs in each concert while the rest of the concert featured Sketch Show, HASYMO music and members' solo works.

In August 2009, the band played the World Happiness festival in Japan, featuring many Japanese artists. The band closed the night, and confirmed that "Yellow Magic Orchestra" was their official name, dropping the HASYMO title. They opened with a cover of "Hello, Goodbye" and performed old YMO songs along with their newer songs.^[36]

In August 2010, YMO once again closed their World Happiness festival. They added classic songs from their back catalog into their set list. They also covered "Hello, Goodbye" and "Thank You (Falettinme Be Mice Elf Agin)".^[37] In January 2011, KCRW announced for their World Festival concert series that Yellow Magic Orchestra will perform at the Hollywood Bowl on June 26, 2011.^[38] Not long after, a concert for June 27, 2011, at The Warfield was added.^[39] It was announced in February that YMO would perform at the Fuji Rock festival in July and the World Happiness festival 2011 on August 7.

In 2012, Sakamoto helped organize the No Nukes 2012 festival held in the Makuhari Messe hall in Chiba, Japan, on July 7 and 8, 2012.^[40] Among the many artists performing, Kraftwerk closed the July 7 concert, with YMO performing on both days, closing the July 8 concert.^[41] YMO also headlined their World Happiness festival on August 12, 2012.^[42] After these performances, the band once again went quiet; though no formal announcement was made of a hiatus or breakup, the band ultimately did not reconvene for further recordings or headlining concerts.

On June 23, 2018, Hosono played his debut UK solo concert at the Barbican Centre in London; Takahashi and Sakamoto joined him on stage to perform "Absolute Ego Dance", marking the final time that the three would appear together in public. (The band featured in Hosono's second and third "Yellow Magic Show" on Japanese TV, both recorded in 2019; their appearance in the third was in front of a live audience, but Sakamoto appeared via prerecorded video.)

2023: Takahashi and Sakamoto's deaths

On January 11, 2023, Takahashi died at the age of 70, following a case of pneumonia. He had undergone surgery to remove a brain tumor in 2020 but continued to have health troubles that interfered with his musical activities in the intervening years.^[43]^[44]^[45]^[46] That same year, Sakamoto died on March 28 at the age of 71, following a lengthy battle with cancer; leaving Hosono as the last surviving member of the group.

Musical style and development

While their contemporaries in Düsseldorf, and later Detroit, were using synthesizer technology to create bleak dystopian music, YMO introduced a more "joyous and liberating" approach to electronic music. According to Sakamoto, they were "tired" of Japanese musicians imitating Western and American music at the time and so they wanted to "make something very original from Japan."^[47] Kraftwerk was particularly an influence on Sakamoto, who heard the band in the mid-1970s and later introduced them to his fellow band members.^[47] They were impressed with Kraftwerk's "very formalized" style but wanted to avoid imitating their "very German" approach. He described Kraftwerk's music as "theoretical, very focused, simple and minimal and strong".^[48] Their alternative template for electronic pop was less minimalistic, made more varying use of synthesizer lines, introduced "fun-loving and breezy" sounds,^[49] and placed a strong emphasis on melody^[47] in contrast to Kraftwerk's statuesque "robot pop".^[50]

The band also drew from a wider range of influences than had been employed by Kraftwerk.^[28] These influences on YMO included Japanese electronic music (such as Isao Tomita),^[51] traditional Japanese music, experimental Chinese music (of the Cultural Revolution era),^[47] Indian music (such as Ravi Shankar and Bollywood music),^[16] arcade game samples,^[13]^[52] American rap,^[29] exotica,^[28] Caribbean ska,^[28] Giorgio Moroder's disco work,^[1] the Beatles, the Beach Boys and their leader Brian Wilson,^[53] Van Dyke Parks,Script error: No such module "Unsubst". classical music,^[8] animal sounds,^[54] and noise.^[55] Sakamoto has expressed that his "concept when making music is that there is no border between music and noise."^[55]

Sampling

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Their approach to sampling music was a precursor to the contemporary approach of constructing music by cutting fragments of sounds and looping them using computer technology.^[56] Their 1978 hit "Computer Game / Firecracker", for example, sampled Martin Denny's 1959 exotica melody "Firecracker"^[13] and arcade game sounds from Space Invaders and Circus.^[13]^[52] According to The Vinyl District magazine, they also released the first album to feature mostly samples and loops (1981's Technodelic).^[57] The pace at which the band's music evolved has been acknowledged by critics. According to SF Weekly, YMO's musical timeline has gone from "zany exotica-disco spoofs" and "bleeps and blips" in the 1970s to "sensuous musique concrète perfected" in their 1983 albums Naughty Boys and Service.^[47]

Technodelic (1981) was produced using the LMD-649, a PCM digital sampler that Toshiba-EMI sound engineer Kenji Murata custom-built for YMO.^[58] Soon after Technodelic, the LMD-649 was used by YMO-associated acts such as Chiemi Manabe^[59] and Logic System.^[60]

Instruments

File:Roland TR-808 drum machine.jpg

YMO were the first band to use the Roland TR-808 Rhythm Composer, which has appeared on more hit records than any other drum machine.

The band often utilized a wide variety of state-of-the-art electronic music equipment immediately as they were made available.^[19]^[20] The group leader Haruomi Hosono had already been using an Ace Tone rhythm machine since early in his career in the early 1970s.^[9] Yellow Magic Orchestra and Ryuichi Sakamoto's Thousand Knives were one of the earliest popular music albums to utilize the Roland MC-8 Microcomposer, which was programmed by Hideki Matsutake during recording sessions.^[18]^[20] Roland called the MC-8 a "computer music composer" and it was the first stand-alone microprocessor-based music sequencer.^[61]^[62]^[63] It also introduced features such as a keypad to enter note information and 16 KB of RAM which allowed a maximum sequence length of 5200 notes, a huge step forward from the 8–16 step sequencers of the era.^[62] While it was commercially unsuccessful due to its high price,^[62] the band were among the few bands at the time to utilize the MC-8, which they described as, along with its music programmer Hideki Matsutake, an "inevitable factor" in both their music production and live performances.^[7] "Behind the Mask" (1979) made use of synthesizers for the melodies and digital gated reverb for the snare drums.^[19]

They were also the very first band to utilize the Roland TR-808 Rhythm Composer, one of the first and most influential programmable drum machines, as soon as it was released in 1980.^[64] While the machine was initially unsuccessful due to its lack of digital sampling that the rival Linn LM-1 offered, the TR-808 featured various unique artificial percussion sounds,^[64] including a deep bass kick drum,^[65]^[66] "tinny handclap sounds",^[66] "the ticky snare, the tishy hi-hats (open and closed)", and "the spacey cowbell",^[64] which YMO utilized and demonstrated in their music, as early as its year of release in 1980, paving the way for the TR-808's mainstream popularity several years later,^[64]^[65] after which it would be used for more hit records than any other drum machine^[67] and continue to be widely used through to the present day.^[64]

At the time, Billboard noted that the use of such computer-based technology in conjunction with synthesizers allowed YMO to create new sounds that were not possible until then.^[21] Yellow Magic Orchestra was also the first computer-themed music album, coming before Kraftwerk's Computer World (1981) by several years.^[68] As a result of such innovations, YMO were credited at the time for having "ushered in the age of the computer programmer as rock star."^[3]

Other electronic equipment used by the group included the LMD-649 sampler (see Sampling above),^[58] Roland MC-4 Microcomposer sequencer,^[19] Pollard Syndrum electronic drums,^[20] Roland VP-330 and Korg VC-10 vocoders,^[20]^[19] Yamaha CS-80 and DX7 synthesizers,^[69]^[19] Korg PS-3100 and PS-3300 synthesizers,^[20]^[19] Moog III-C and Polymoog synthesizers, and ARP Odyssey, Oberheim Eight Voice, and E-mu Emulator synthesizers.^[19] Electric instruments were also used, the Fender Rhodes piano and Fender Jazz Bass.^[20]

Legacy

The band has been described as "the original cyberpunks"^[70] and their early work has been described as "proto-techno" music.^[71]^[72] By the 1990s, YMO were also frequently cited as pioneers of ambient house music.^[1] YMO also popularized a style of live performance that eschewed human movement in favour of electronics such as rhythm boxes and samplers.^[73] They also influenced the New Romantic movement,^[73]Script error: No such module "Unsubst". including British bands Duran Duran^[13] and Japan, whose member Steve Jansen was influenced by drummer Takahashi,^[74] while lead member David Sylvian was influenced by Sakamoto, who would later collaborate with Sylvian.^[74]

Various cover versions of "Kimi ni Mune Kyun" (1983) have also been produced by other artists,^[75] including The Human League in 1993 ("YMO Versus The Human League")^[76] and Asako Toki in 2006.^[75] In 2009, a cover of "Kimi ni Mune Kyun" was used as the ending theme song for the anime adaptation of Maria Holic, sung by Asami Sanada, Marina Inoue, and Yū Kobayashi, the voice actresses of the main characters. In 2015, in the anime Sound! Euphonium, episode 5, the song "Rydeen" is played by Kitauji highschool's orchestra. The popular anime series Dragon Ball Z also paid homage to the band with the song "Solid State Scouter" as the theme song of the 1990 TV special Dragon Ball Z: Bardock – The Father of Goku.

In HMV Japan's list of top 100 Japanese musicians of all time, YMO were voted second place, behind only Southern All Stars, a pop-rock band who remain largely unknown outside Japan.^[77] In 2006, Senor Coconut paid tribute to the band with his Yellow Fever! album.^[4]

Electronic music

YMO were pioneers of synthpop, a genre which emerged at the start of the 1980s. In 1993, Johnny Black of Hi-Fi News, in a review for the record Hi-Tech/No Crime, described YMO as "the most adventurous and influential electro-techno-dance technicians the world has produced" and further argued that "without them (and Kraftwerk) today's music would still sound like yesterday's music."^[2] In 2001, Jason Ankeny of the Allmusic Guide to Electronica described YMO as "a seminal influence on contemporary electronic music – hugely popular both at home and abroad" and placed them "second only to Kraftwerk as innovators of today's electronic culture."^[78]

YMO are considered pioneers in the field of popular electronic music, and continue to be remixed or sampled by modern artists,^[1] including experimental artist Yamantaka Eye, electronica group LFO, jungle band 4hero, electrolatino artist Senor Coconut, ambient house pioneers The Orb and 808 State,^[8] electronic music groups Orbital^[24] and The Human League,^[76] hip hop pioneer Afrika Bambaataa,^[30] and mainstream pop musicians such as Michael Jackson, Quincy Jones, Greg Phillinganes,^[24] Eric Clapton, Mariah Carey, and Jennifer Lopez.^[79]

YMO also influenced techno music,^[80] including its pioneers Juan Atkins, Kevin Saunderson, and Derrick May,^[81] who cited YMO as an important influence on their work alongside Kraftwerk.^[82] YMO continued to influence later techno musicians such as Surgeon, μ-Ziq, and Cosmic Baby.^[1] "Technopolis" (1979) in particular is considered an "interesting contribution" to the development of Detroit techno and the group Cybotron.^[28] "Computer Game" (1978) also influenced Sheffield's bleep techno music; the Warp record, Sweet Exorcist's "Testone" (1990), defined Sheffield's techno sound by making playful use of sampled sounds from "Computer Game" along with dialogues from the film Close Encounters of the Third Kind (1977).^[83] "Computer Game" (1978) was later included in Carl Craig's compilation album Kings of Techno (2006).^[84]

In the 1990s, YMO influenced ambient house pioneers such as The Orb and 808 State,^[8] as well as Ultramarine and other ambient/house artists.^[1] This resulted in the release of the tribute remix album Yellow Magic Orchestra: Hi-Tech/No Crime in 1993,^[1] by leading ambient, house and techno musicians at the time, including The Orb, 808 State, and Orbital.^[85] The music YMO produced during their comeback in the early 1990s also played an instrumental role in the techno and acid house movements towards the end of the 20th century.^[35] The band's use of oriental musical scales and video game sounds has continued to be an influence on 21st-century electronica acts such as Dizzee Rascal, Kieran Hebden,^[13] and Ikonika.^[86]

YMO's success with music technology encouraged many others, with their influence strongly felt in the British electronic scene of the early 1980s in particular.^[26] They influenced many early British synthpop acts, including Ultravox, John Foxx, Gary Numan, Duran Duran,^[13] Depeche Mode,^[1] Template:Not in source given Camouflage,^[1]^[87] OMD, The Human League,^[47] Visage,^[88] and Art of Noise,^[89] as well as American rock musicians such as Todd Rundgren.^[13]

"Technopolis", a tribute to Tokyo as an electronic mecca that used the term "techno" in its title, foreshadowed concepts that Juan Atkins and Rick Davis would later have with Cybotron.^[28]

Hip hop

The band was popular with the emerging hip hop community, which appreciated the group's new electronic sounds, and in the Bronx where Firecracker was a success and sampled in the famous Death Mix by Afrika Bambaataa.^[30]^[32] Afrika Bambaataa's influential song "Planet Rock" was partly inspired by YMO.^[90]^[91] The "terse videogame-funk" sounds of YMO's "Computer Game" would have a strong influence on the emerging electro and hip hop genres.^[8] Sakamoto's "Riot in Lagos" was cited by Kurtis Mantronik as a major influence on his early electro hip hop group Mantronix;^[92] he included both "Computer Game" and "Riot in Lagos" in his compilation album That's My Beat (2002) which consists of the songs that influenced his early career.^[93] The song was also later included in Playgroup's compilation album Kings of Electro (2007), alongside later electro classics such as Hashim's "Al-Nafyish" (1983).^[94] The 1980 release of "Riot in Lagos" was also listed by The Guardian in 2011 as one of the 50 key events in the history of dance music.^[95]

YMO's use of video game sounds and bleeps also had a particularly big influence on 1980s hip hop^[96] and pop music.^[47] Beyond electro acts, "Computer Game / Firecracker" was also sampled by a number of other later artists, including 2 Live Crew's "Mega-Mixx II" (1987),^[75] De La Soul's "Funky Towel" (for the 1996 film Joe's Apartment),^[97] Jennifer Lopez's "I'm Real" (2001), and the original unreleased version of Mariah Carey's "Loverboy" (2001).^[79]

Japan

The band has also been very influential in its homeland Japan, where they had become the most popular group during the late 1970s and 1980s.^[13] Their albums Solid State Survivor and X∞Multiplies held the top two spots on the Oricon charts for seven consecutive weeks in 1980, making YMO the only band in Japanese chart history to achieve this feat.^[27] Young fans of their music during this period became known as the Script error: No such module "Nihongo"..^[98]

The band significantly affected Japanese pop music, which started becoming increasingly dominated by electronic and computer music due to YMO's influence.^[51] YMO were one of the most important acts in Japan's "New Music" movement and paved the way for the emergence of contemporary J-pop in the 1980s.^[99] They also inspired early ambient techno artists such as Tetsu Inoue,^[100] and the classical music composer Joe Hisaishi.^[101] The manga author Akira Toriyama, creator of Dragon Ball and Dr. Slump, cited Yellow Magic Orchestra as his favorite music band in a 1980 interview.^[102]

Video games

YMO also influenced many video game composers and significantly affected the sounds used in much of the chiptune and video game music produced during the 8-bit and 16-bit eras.^[68] In 1994, four video game composers employed at Namco formed a parody band called Oriental Magnetic Yellow (OMY), producing parody cover versions of various YMO records, consisting of Shinji Hosoe as Haruomi Hosonoe, Nobuyoshi Sano as Ryuichi Sanomoto, Takayuki Aihara as Takayukihiro Aihara, and Hiroto Sasaki as Hideki Sasatake.^[103]

Members

Official members

Haruomi Hosono – bass, keyboards, vocals (1978–1984; 1992–1993; 2002–2004; 2007–2012)
Yukihiro Takahashi – lead vocals, drums, percussion, occasional keyboards (1978–1984; 1992–1993; 2002–2004; 2007–2012; died 2023)
Ryuichi Sakamoto – keyboards, synthesizers, vocals (1978–1984; 1992–1993; 2002–2004; 2007–2012; died 2023)

Frequent collaborators

Hideki Matsutake – synthesizers, sound programming, sequencers (1978–1982)

Discography

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Yellow Magic Orchestra (1978)
Solid State Survivor (1979)
×∞ Multiplies (also known as Zoshoku, 1980)Template:Refn
BGM (1981)
Technodelic (1981)
Naughty Boys (1983)
Service (1983)
Technodon (credited to ~~YMO~~, 1993)

Notes

Template:Reflist

References

Template:Reflist

External links

YMO Template:In lang
Template:PAGENAMEBASE discography at Discogs
Template:Imdb name
Official Facebook website
Official MySpace website

Template:Yellow Magic Orchestra Template:Electronic rock Template:Authority control

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↑ ^a ^b Ryuichi Sakamoto – Thousand Knives Of (CD) at Discogs
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↑ Chiemi Manabe – 不思議・少女 Template:Webarchive, Discogs
↑ Logic System – Orient Express Template:Webarchive, Discogs
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↑ Template:Trim/Template:Trim The Kings of Techno (Carl Craig) at AllMusic
↑ Template:Trim/Template:Trim Hi-Tech/No Crime: Yellow Magic Orchestra Reconstructed at AllMusic. Retrieved June 19, 2011.
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[allmusic_ymo-1] ↑ ^a ^b ^c ^d ^e ^f ^g ^h ⁱ ^j ^k ^l Template:Trim/Template:Trim Yellow Magic Orchestra at AllMusic. Retrieved June 3, 2009.

[fidelity_1993-2] Script error: No such module "Citation/CS1".

[sarasota-3] ↑ ^a ^b ^c ^d ^e ^f ^g ^h Script error: No such module "Citation/CS1".

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[10] 井上陽水 – 氷の世界 at Discogs (Translation Template:Webarchive)

[11] Osamu Kitajima – Benzaiten at Discogs

[12] Script error: No such module "citation/CS1".

[guardian_ymo-13] ↑ ^a ^b ^c ^d ^e ^f ^g ^h ⁱ ^j ^k ^l Script error: No such module "citation/CS1".

[discogs_paraiso-14] Harry Hosono And The Yellow Magic Band – Paraiso at Discogs

[15] Pacific at Discogs

[pitchfork-16] Script error: No such module "citation/CS1".

[17] Ryuichi Sakamoto – Thousand Knives Of at Discogs

[knives_cd-18] Ryuichi Sakamoto – Thousand Knives Of (CD) at Discogs

[Tanaka2014-19] ↑ ^a ^b ^c ^d ^e ^f ^g ^h ⁱ Script error: No such module "citation/CS1".

[discogs_ymo_lp-20] ↑ ^a ^b ^c ^d ^e ^f ^g Yellow Magic Orchestra – Yellow Magic Orchestra at Discogs

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[allmusic_bgm-29] Template:PAGENAMEBASE at AllMusic. Retrieved May 29, 2011.

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[37] [1] Template:Webarchive

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[46] Template:Cite magazine

[sfweekly_interview-47] ↑ ^a ^b ^c ^d ^e ^f ^g Script error: No such module "citation/CS1".

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[50] Template:Trim/p4706 Kraftwerk at AllMusic

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[rockin-58] Template:Cite magazine Tokyosky (February 3, 2011). "月刊ロッキンf 1982年3月号 LMD-649の記事 1982" [Article on the LMD-649 from the March 1982 Issue of Monthly Rockin' f]. Tokyosky Webmaster's Blog

[59] Chiemi Manabe – 不思議・少女 Template:Webarchive, Discogs

[60] Logic System – Orient Express Template:Webarchive, Discogs

[61] Script error: No such module "citation/CS1".

[SOS_Nov._2004-62] Script error: No such module "Citation/CS1".

[63] Chadabe, Joel. 1997. Electric Sound: The Past and Promise of Electronic Music. Upper Saddle River, New Jersey: Prentice Hall, (p. 194). Template:ISBN.

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[wired-66] Template:Cite magazine

[67] Script error: No such module "citation/CS1".

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[69] Tim Barr, Kraftwerk: from Dusseldorf to the Future With Love, page 152, Random House

[70] Script error: No such module "citation/CS1".

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[72] Script error: No such module "citation/CS1".

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[bogdanov_1996-80] Script error: No such module "citation/CS1".Template:Dead link

[81] Reynolds, Simon, Energy Flash: a Journey Through Rave Music and Dance Culture, p. 15, Pan Macmillan, 1998 (Template:ISBN)

[82] Archived at Ghostarchive Template:Cbignore and the Wayback Machine Template:Cbignore: Script error: No such module "citation/CS1".Template:Cbignore

[83] Script error: No such module "citation/CS1".

[84] Template:Trim/Template:Trim The Kings of Techno (Carl Craig) at AllMusic

[85] Template:Trim/Template:Trim Hi-Tech/No Crime: Yellow Magic Orchestra Reconstructed at AllMusic. Retrieved June 19, 2011.

[86] Script error: No such module "citation/CS1".

[87] Script error: No such module "citation/CS1".

[88] Script error: No such module "citation/CS1".

[89] Template:Cite magazine

[perkins_1996-90] Script error: No such module "citation/CS1".

[cmj_1999-91] Script error: No such module "citation/CS1".

[92] Script error: No such module "citation/CS1".

[93] Template:Trim/Template:Trim That's My Beat: Mantronix at AllMusic

[94] Template:Trim/Template:Trim Kings of Electro at AllMusic

[95] Script error: No such module "citation/CS1".

[96] Script error: No such module "citation/CS1".

[97] Script error: No such module "citation/CS1".

[98] Script error: No such module "citation/CS1".

[whonejp-99] Script error: No such module "citation/CS1". (Translation Template:Webarchive)

[100] Template:Trim/Template:Trim Template:PAGENAMEBASE at AllMusic. Retrieved July 17, 2011.

[101] Script error: No such module "citation/CS1".

[102] Template:Cite magazine

[103] Script error: No such module "citation/CS1".

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@@ Line 2: / Line 2: @@
 {{Use mdy dates|date=June 2023}}
 {{Infobox musical artist
-| name              = Yellow Magic Orchestra
+| name             = Yellow Magic Orchestra
-| image             = Yellow Magic Orchestra in 2008.jpg
+| image            = Yellow Magic Orchestra in 2008.jpg
-| caption           = YMO after playing a [[LONDONYMO – Yellow Magic Orchestra Live in London 15/6 08|2008 concert in London]]. From left to right: [[Ryuichi Sakamoto]], [[Yukihiro Takahashi]], [[Haruomi Hosono]]
+| caption          = YMO after playing a [[LONDONYMO – Yellow Magic Orchestra Live in London 15/6 08|2008 concert in London]]. From left to right: [[Ryuichi Sakamoto]], [[Yukihiro Takahashi]], [[Haruomi Hosono]]
-| background        = group_or_band
+| background       = group_or_band
-| alias             = {{hlist|YMO|<s>YMO</s>|Not YMO|{{nowrap|Human Audio Sponge}}|HAS|HASYMO}}
+| alias            = {{hlist|YMO|<s>YMO</s>|Not YMO|{{nowrap|Human Audio Sponge}}|HAS|HASYMO}}
-| origin            = Tokyo, Japan
+| origin           = Tokyo, Japan
-| genre             = {{flatlist|
+| genre            = {{hlist|[[Electronic music|Electronic]]<ref name="wire_1996"/>|[[electropop]]|[[synth-pop]]<ref name="buckley">Buckley, P. (2003), ''The Rough Guide to Rock'', Rough Guides, London (pp. 1200&ndash;1201).</ref>|[[art pop]]<ref name="Bamboo">{{cite web|last1=Simpson|first1=Paul|title=Bamboo - Biography & History|url=https://www.allmusic.com/artist/bamboo-mn0003437148/biography|website=[[AllMusic]]|access-date=January 24, 2018|archive-date=June 2, 2017|archive-url=https://web.archive.org/web/20170602083622/https://www.allmusic.com/artist/bamboo-mn0003437148/biography|url-status=live}}</ref>}}
-* [[Electronic music|Electronic]]
+| discography      = [[Yellow Magic Orchestra discography]]
-* [[electro-pop]]
+| years_active     = {{hlist|1978–1984|1992–1993|{{nowrap|2002–2004}}|2007–2012}}
-* [[synth-pop]]<ref name="buckley">Buckley, P. (2003), ''The Rough Guide to Rock'', Rough Guides, London (pp. 1200&ndash;1201).</ref>
+| label            = {{hlist|[[Alfa Records|Alfa Records (Japan)]]|[[A&M Records]]|[[Toshiba-EMI]]|[[Restless Records]]|[[Sony Music Entertainment Japan|Sony Music House (Japan)]]|[[Epic Records]]|[[Avex Trax|Commmons (Japan)]]}}
-* [[Ambient music|ambient]]<ref name="allmusic_ymo"/>
+| website          = {{URL|ymo.org}}
-* {{nowrap|[[art pop]]}}<ref name="Bamboo">{{cite web|last1=Simpson|first1=Paul|title=Bamboo - Biography & History|url=https://www.allmusic.com/artist/bamboo-mn0003437148/biography|website=[[AllMusic]]|access-date=January 24, 2018|archive-date=June 2, 2017|archive-url=https://web.archive.org/web/20170602083622/https://www.allmusic.com/artist/bamboo-mn0003437148/biography|url-status=live}}</ref>
+| past_members  = *[[Haruomi Hosono]]
-* [[Avant-garde music|avant-garde]]<ref name="allmusic_ymo"/>
-* [[Electro (music)|electro]]<ref name="wire_1996"/>
-* [[Experimental music|experimental]]<ref name="allmusic_ymo"/>
-* [[hip-hop]]<ref name="undermain"/>
-* [[House music|house]]<ref name="allmusic_ymo"/><ref name="UGO"/>
-* [[New wave music|new{{nbsp}}wave]]<ref name="allmusic_ymo"/>
-* [[techno]]<ref name="UGO"/>
-}}
-| discography       = [[Yellow Magic Orchestra discography]]
-| years_active      = {{hlist|1978–1984|1992–1993|{{nowrap|2002–2004}}|2007–2012}}
-| label             = {{hlist|[[Alfa Records|Alfa Records (Japan)]]|[[A&M Records]]|[[Toshiba-EMI]]|[[Restless Records]]|[[Sony Music Entertainment Japan|Sony Music House (Japan)]]|[[Epic Records]]|[[Avex Trax|Commmons (Japan)]]}}
-| website           = {{URL|ymo.org}}
-| past_members      = *[[Haruomi Hosono]]
 *[[Ryuichi Sakamoto]]
 *[[Yukihiro Takahashi]]
 }}
-'''Yellow Magic Orchestra''' (abbreviated to '''YMO''') was a Japanese [[electronic music]] band formed in Tokyo in 1978 by [[Haruomi Hosono]] (bass, keyboards, vocals), [[Yukihiro Takahashi]] (drums, lead vocals, occasional keyboards) and [[Ryuichi Sakamoto]] (keyboards, vocals).<ref name="allmusic_ymo">{{AllMusic|artist|p5886|Yellow Magic Orchestra|access-date=June 3, 2009}}</ref> The group is considered influential and innovative in the field of popular electronic music.<ref name="allmusic_ymo"/><ref name="fidelity_1993"/> They were pioneers in their use of [[synthesizers]], [[Sampler (musical instrument)|samplers]], [[music sequencer|sequencers]], [[drum machine]]s, [[Computer music|computers]], and [[Digital audio|digital recording]] technology,<ref name="allmusic_ymo" /><ref name="sarasota" /><ref name="clashmusic" /> and effectively anticipated the "[[electropop]] boom" of the 1980s.<ref>{{cite news|title=Sakamoto hears music's sounds, not its styles|work=[[The Baltimore Sun]]|author=J. D. Considine|date=March 23, 2000|url=https://pqasb.pqarchiver.com/baltsun/access/51630773.html?dids=51630773%3A51630773&FMT=ABS&FMTS=ABS%3AFT&type=current&date=Mar+23%2C+2000&author=J.D.+Considine&pub=The+Sun&desc=Sakamoto+hears+music%27s+sounds%2C+not+its+styles%3B+Performance%3A+The+popular+Japanese+pianist+is+moving+toward+acoustic+music+because+he+is+not+sure+he+can+rely+on+electricity.&pqatl=google|access-date=June 9, 2011|archive-date=February 10, 2013|archive-url=https://web.archive.org/web/20130210005526/http://pqasb.pqarchiver.com/baltsun/access/51630773.html?dids=51630773%3A51630773&FMT=ABS&FMTS=ABS%3AFT&type=current&date=Mar+23%2C+2000&author=J.D.+Considine&pub=The+Sun&desc=Sakamoto+hears+music%27s+sounds%2C+not+its+styles%3B+Performance%3A+The+popular+Japanese+pianist+is+moving+toward+acoustic+music+because+he+is+not+sure+he+can+rely+on+electricity.&pqatl=google|url-status=dead}}</ref> They are credited with influencing the development of various electronic genres, including [[synth-pop]], [[city pop]], [[Electronic dance music|dance]], [[Electro (music)|electro]], [[hip-hop]], [[J-pop]] and [[techno]].<ref name="EssentialFactmag">{{cite journal |last1=Jones |first1=Mikey IQ |date=January 22, 2015 |title=The Essential… Yellow Magic Orchestra |url=http://www.factmag.com/2015/01/22/the-essential-yellow-magic-orchestra/ |url-status=live |journal=[[Factmag]] |archive-url=https://web.archive.org/web/20150123053959/http://www.factmag.com/2015/01/22/the-essential-yellow-magic-orchestra/ |archive-date=January 23, 2015 |access-date=November 29, 2015}}</ref> They also explored subversive socio-political themes throughout their career.<ref name="EssentialFactmag" />
+'''Yellow Magic Orchestra''' (abbreviated to '''YMO''') was a Japanese [[electronic music]] band formed in Tokyo in 1978 by [[Haruomi Hosono]] (bass, keyboards, vocals), [[Yukihiro Takahashi]] (drums, lead vocals, occasional keyboards) and [[Ryuichi Sakamoto]] (keyboards, vocals).<ref name="allmusic_ymo">{{AllMusic|artist|p5886|Yellow Magic Orchestra|access-date=June 3, 2009}}</ref> The group is considered influential and innovative in the field of popular electronic music.<ref name="allmusic_ymo"/><ref name="fidelity_1993"/> They were pioneers in their use of synthesizers, [[Sampler (musical instrument)|samplers]], [[music sequencer|sequencers]], [[drum machine]]s, computers, and [[Digital audio|digital recording]] technology,<ref name="allmusic_ymo"/><ref name="sarasota"/><ref name="clashmusic"/> and effectively anticipated the "[[electropop]] boom" of the 1980s.<ref>{{cite news|title=Sakamoto hears music's sounds, not its styles|work=[[The Baltimore Sun]]|author=J. D. Considine|date=March 23, 2000|url=https://pqasb.pqarchiver.com/baltsun/access/51630773.html?dids=51630773%3A51630773&FMT=ABS&FMTS=ABS%3AFT&type=current&date=Mar+23%2C+2000&author=J.D.+Considine&pub=The+Sun&desc=Sakamoto+hears+music%27s+sounds%2C+not+its+styles%3B+Performance%3A+The+popular+Japanese+pianist+is+moving+toward+acoustic+music+because+he+is+not+sure+he+can+rely+on+electricity.&pqatl=google|access-date=June 9, 2011|archive-date=February 10, 2013|archive-url=https://web.archive.org/web/20130210005526/http://pqasb.pqarchiver.com/baltsun/access/51630773.html?dids=51630773%3A51630773&FMT=ABS&FMTS=ABS%3AFT&type=current&date=Mar+23%2C+2000&author=J.D.+Considine&pub=The+Sun&desc=Sakamoto+hears+music%27s+sounds%2C+not+its+styles%3B+Performance%3A+The+popular+Japanese+pianist+is+moving+toward+acoustic+music+because+he+is+not+sure+he+can+rely+on+electricity.&pqatl=google|url-status=dead}}</ref> They are credited with playing a key role in the development of several electronic genres, including [[synthpop]], [[J-pop]], [[Electro (music)|electro]], and [[techno]], while exploring subversive sociopolitical themes throughout their career.<ref name=EssentialFactmag>{{cite journal|last1=Jones|first1=Mikey IQ|title=The Essential… Yellow Magic Orchestra|journal=[[Factmag]]|date=January 22, 2015|url=http://www.factmag.com/2015/01/22/the-essential-yellow-magic-orchestra/|access-date=November 29, 2015|archive-date=January 23, 2015|archive-url=https://web.archive.org/web/20150123053959/http://www.factmag.com/2015/01/22/the-essential-yellow-magic-orchestra/|url-status=live}}</ref>
 The three members were veterans of the [[music industry]] before coming together as YMO, and were inspired by eclectic sources, including the electronic music of [[Isao Tomita]] and [[Kraftwerk]], [[Music of Japan|Japanese traditional music]], [[arcade game]]s, [[funk]] music, and the [[disco]] productions of [[Giorgio Moroder]]. They released the surprise global hit "[[Yellow Magic Orchestra (album)|Computer Game]]" in 1978, reaching the UK Top 20 and selling 400,000 copies in the U.S. For their early recordings and performances, the band was often accompanied by programmer [[Hideki Matsutake]].<ref name="sound_147"/> The group released several albums before pausing their activity in 1984. They briefly reunited several times in subsequent decades before Takahashi and Sakamoto's deaths in 2023.
@@ Line 39: / Line 26: @@
 Prior to the group's formation, Sakamoto had been experimenting with [[Electronic musical instrument|electronic music equipment]] at the [[Tokyo National University of Fine Arts and Music]], which he entered in 1970, including synthesizers such as the [[Buchla]], [[Moog synthesizer|Moog]], and [[ARP Instruments, Inc.|ARP]].<ref name="dayal_interview">{{cite web|last=Dayal|first=Gheeta|title=Yellow Magic Orchestra|url=http://www.theoriginalsoundtrack.com/blog/archives/00000615.htm|work=Groove|publisher=The Original Soundtrack|access-date=June 17, 2011|date=July 7, 2006|archive-url=https://web.archive.org/web/20111002224518/http://www.theoriginalsoundtrack.com/blog/archives/00000615.htm|archive-date=October 2, 2011|url-status=dead}}</ref> The group leader Haruomi Hosono had been using an [[Ace Tone]] [[rhythm machine]] since early in his career in the early 1970s.<ref name="wire2017">{{cite journal |title=The Primer:Yellow Magic Orchestra |journal=[[The Wire (magazine)|The Wire]] |date=October 2017 |issue=404 |page=38 |url=https://reader.exacteditions.com/issues/59878/page/38 |access-date=November 16, 2018 |archive-date=November 16, 2018 |archive-url=https://web.archive.org/web/20181116190631/https://reader.exacteditions.com/issues/59878/page/38 |url-status=live }}</ref> Following the break-up of his band [[Happy End (band)|Happy End]] in 1972, Hosono became involved in the recording of several early [[electronic rock]] records, including [[Yōsui Inoue]]'s [[Folk rock|folk]] [[pop rock]] album ''[[Kōri no Sekai]]'' (1973) and [[Osamu Kitajima]]'s [[Progressive rock|progressive]] [[psychedelic rock]] album ''Benzaiten'' (1974), both of which utilized synthesizers, electric guitars, electric bass, and in the latter, [[electronic drum]]s, and [[Drum machine|rhythm machines]].<ref>{{Discogs release|2509617|井上陽水 – 氷の世界}} ([https://translate.google.com/translate?hl=en&sl=ja&tl=en&u=http://www.discogs.com/%E4%BA%95%E4%B8%8A%E9%99%BD%E6%B0%B4-%E6%B0%B7%E3%81%AE%E4%B8%96%E7%95%8C/release/2509617 Translation] {{Webarchive|url=https://web.archive.org/web/20190420110819/https://translate.google.com/translate?hl=en&sl=ja&tl=en&u=http://www.discogs.com/%E4%BA%95%E4%B8%8A%E9%99%BD%E6%B0%B4-%E6%B0%B7%E3%81%AE%E4%B8%96%E7%95%8C/release/2509617 |date=April 20, 2019 }})</ref><ref>{{Discogs release|1303605|Osamu Kitajima – Benzaiten}}</ref> Also around the same time, the band's future "fourth member" [[Hideki Matsutake]] was the assistant for the internationally successful electronic musician [[Isao Tomita]]. Much of the methods and techniques developed by both Tomita and Matsutake during the early 1970s would later be employed by Yellow Magic Orchestra.<ref name="sound_147"/><ref>{{cite web|title=Isao Tomita: Moog reverie|url=http://www.residentadvisor.net/feature.aspx?1586|publisher=[[Resident Advisor]]|access-date=July 17, 2012|date=July 13, 2012|archive-date=September 24, 2015|archive-url=https://web.archive.org/web/20150924130348/http://www.residentadvisor.net/feature.aspx?1586|url-status=live}}</ref>
-Sakamoto first worked with Hosono as a member of his live band in 1976, while [[Yukihiro Takahashi]] recruited Sakamoto to produce his debut solo recording in 1977 following the split of the [[Sadistic Mika Band]]. Hosono invited both to work on his [[exotica]]-flavoured album ''[[Paraiso (Haruomi Hosono album)|Paraiso]]'', which included [[Electronic music|electronic songs]] produced using various electronic equipment. The band was named "Harry Hosono and the Yellow Magic Band" as a satire of the idyllic perception of pacific and Hawaiian music America had been obsessed with <ref name="guardian_ymo"/> and in late 1977 they began recording ''Paraiso'', which was released in 1978.<ref name="discogs_paraiso">{{Discogs release|1188801|Harry Hosono And The Yellow Magic Band – Paraiso}}</ref> Hosono then worked on the album ''[[Pacific (1978 album)|Pacific]]'', along with Shigeru Suzuki and Tatsuro Yamashita, which included an early version of the song "Cosmic Surfin".<ref>{{Discogs release|2561274|Pacific}}</ref>
+Sakamoto first worked with Hosono as a member of his live band in 1976, while [[Yukihiro Takahashi]] recruited Sakamoto to produce his debut solo recording in 1977 following the split of the [[Sadistic Mika Band]]. Hosono invited both to work on his [[exotica]]-flavoured album ''[[Paraiso (Haruomi Hosono album)|Paraiso]]'', which included [[Electronic music|electronic songs]] produced using various electronic equipment. The band was named "Harry Hosono and the Yellow Magic Band" as a satire of the idyllic perception of pacific and Hawaiian music America had been obsessed with <ref name="guardian_ymo"/> and in late 1977 they began recording ''Paraiso'', which was released in 1978.<ref name="discogs_paraiso">{{Discogs release|1188801|Harry Hosono And The Yellow Magic Band – Paraiso}}</ref> The three worked together again for the 1978 album ''[[Pacific (1978 album)|Pacific]]'', which included an early version of the song "Cosmic Surfin".<ref>{{Discogs release|2561274|Pacific}}</ref>
 Hosono and Sakamoto also worked together alongside [[Hideki Matsutake]] in early 1978 for Hosono's experimental "electro-exotica" [[Fusion (music)|fusion]] album ''Cochin Moon'', which fused electronic music with [[Music of India|Indian music]], including an early "synth [[raga]]" song "Hum Ghar Sajan".<ref name="pitchfork">{{cite web|author=Dominique Leone|date=July 19, 2005|title=Hosono & Yokoo: Cochin Moon|publisher=[[Pitchfork Media]]|url=http://pitchfork.com/reviews/albums/4016-cochin-moon/|access-date=May 26, 2011|archive-date=July 15, 2011|archive-url=https://web.archive.org/web/20110715081905/http://pitchfork.com/reviews/albums/4016-cochin-moon/|url-status=live}}</ref> The same year, Sakamoto released his own solo album, ''[[Thousand Knives|The Thousand Knives of Ryuichi Sakamoto]]'', experimenting with a similar fusion between electronic music and [[traditional Japanese music]] in early 1978. Hosono also contributed to one of Sakamoto's songs, "Thousand Knives", in the album.<ref>{{Discogs release|325757|Ryuichi Sakamoto – Thousand Knives Of}}</ref> ''Thousand Knives'' was also notable for its early use of the [[microprocessor]]-based [[Roland MC-8 Microcomposer]] [[music sequencer]], with Matsutake as its [[Programming (music)|music programmer]] for the album.<ref name="knives_cd">{{Discogs release|1156483|Ryuichi Sakamoto – Thousand Knives Of (CD)}}</ref><ref name=Tanaka2014/>
-While Sakamoto was working on ''Thousand Knives'', Hosono began formulating the idea of an instrumental disco band which could have the potential to reach success in non-Japanese-language territories, and invited Tasuo Hayashi of [[Haruomi Hosono|Tin Pan Alley]] and [[Hiroshi Sato (musician)|Hiroshi Sato]] of [[:ja:ハックルバック|Huckleback]] as participants, but they declined.<ref name=Tanaka2014>{{cite web|last1=Tanaka|first1=Yuji|title=Yellow Magic Orchestra: The Pre-MIDI Technology Behind Their Anthems|url=http://www.redbullmusicacademy.com/magazine/yellow-magic-orchestra-gear|publisher=[[Red Bull Music Academy]]|date=November 11, 2014|access-date=November 11, 2014|archive-date=April 20, 2015|archive-url=https://web.archive.org/web/20150420065107/http://www.redbullmusicacademy.com/magazine/yellow-magic-orchestra-gear|url-status=live}}</ref> Hosono, Sakamoto and Takahashi eventually collaborated again to form the Yellow Magic Orchestra and they began recording their self-titled album at a [[Shibaura]] studio in July 1978.<ref name="discogs_ymo_lp"/>
+While Sakamoto was working on ''Thousand Knives'', Hosono began formulating the idea of an instrumental disco band which could have the potential to reach success in non-Japanese-language territories, and invited [[Tasuo Hayashi]] of [[Haruomi Hosono|Tin Pan Alley]] and [[Hiroshi Sato (musician)|Hiroshi Sato]] of [[:ja:ハックルバック|Huckleback]] as participants, but they declined.<ref name=Tanaka2014>{{cite web|last1=Tanaka|first1=Yuji|title=Yellow Magic Orchestra: The Pre-MIDI Technology Behind Their Anthems|url=http://www.redbullmusicacademy.com/magazine/yellow-magic-orchestra-gear|publisher=[[Red Bull Music Academy]]|date=November 11, 2014|access-date=November 11, 2014|archive-date=April 20, 2015|archive-url=https://web.archive.org/web/20150420065107/http://www.redbullmusicacademy.com/magazine/yellow-magic-orchestra-gear|url-status=live}}</ref> Hosono, Sakamoto and Takahashi eventually collaborated again to form the Yellow Magic Orchestra and they began recording their self-titled album at a [[Shibaura]] studio in July 1978.<ref name="discogs_ymo_lp"/>
 ===1978–1983: National and international success===
 [[File:Yellow Magic Orchestra YMO (1981 Press Photo).jpg|thumb|YMO in 1981]]
 The band's 1978 self-titled album ''[[Yellow Magic Orchestra (album)|Yellow Magic Orchestra]]'' was successful and the studio project grew into a fully fledged touring band and career for its three members. The album featured the use of computer technology (along with synthesizers) which, according to ''[[Billboard (magazine)|Billboard]]'', allowed the group to create a new sound that was not possible until then.<ref name="billboard_1979">{{citation|title=Artists and producers strive for inroads overseas|magazine=[[Billboard (magazine)|Billboard]]|date=May 26, 1979|volume=91|issue=20|issn=0006-2510|page=61|url=https://books.google.com/books?id=_iQEAAAAMBAJ&pg=PT61}}</ref> Following the release of the album ''Yellow Magic Orchestra'', a live date at the Roppongi Pit Inn was seen by executives of A&M Records of the USA who were in the process of setting up a partnership deal with Alfa Records. This led to the YMO being offered an international deal, at which point (early 1979) the three members decided the group would be given priority over their solo careers. The most popular international hit from the album was "Firecracker", which would be released as a single the following year and again as "Computer Game", which became a success in the United States and Europe.{{citation needed|date=February 2011}}
-Following an advertising deal with [[Fujifilm|Fuji Cassette]], the group sparked a boom in the popularity of electronic pop music, called "[[synthpop|technopop]]" in Japan,<ref name="guardian_ymo">{{cite news|last=Lewis|first=John|title=Back to the future: Yellow Magic Orchestra helped usher in electronica – and they may just have invented hip-hop, too|url=http://www.guardian.co.uk/music/2008/jul/04/electronicmusic.filmandmusic11|work=The Guardian|location=UK|access-date=May 25, 2011|date=July 4, 2008|archive-date=November 11, 2011|archive-url=https://web.archive.org/web/20111111061211/http://www.guardian.co.uk/music/2008/jul/04/electronicmusic.filmandmusic11|url-status=live}}</ref><ref name="sarasota">{{cite journal|title=Computer rock music gaining fans|journal=[[Sarasota Journal]]|date=August 18, 1980|url=https://news.google.com/newspapers?id=7s4mAAAAIBAJ&sjid=h44EAAAAIBAJ&pg=4481,2128223|access-date=May 25, 2011|page=8|archive-date=October 19, 2015|archive-url=https://web.archive.org/web/20151019003232/https://news.google.com/newspapers?id=7s4mAAAAIBAJ&sjid=h44EAAAAIBAJ&pg=4481,2128223|url-status=live}}</ref> where they had an effect similar to that of [[the Beatles]] and [[Beat music|Merseybeat]] in 1960s Britain.<ref name="guardian_ymo"/> For some time, YMO was the most popular band in Japan.<ref name="guardian_ymo"/> Successful solo act [[Akiko Yano]] (later married to Sakamoto) joined the band for its live performances in the late 1970s and early 1980s, but did not participate in the studio recordings. On the other hand, the YMO trio contributed to her own albums and became part of her live band, during these same years.{{citation needed|date=February 2011}} Legendary English guitarist {{nowrap|[[Bill Nelson (musician)|Bill Nelson]]}}, who had disbanded {{nowrap|[[Be-Bop Deluxe]]}} and {{nowrap|[[Bill Nelson's Red Noise|Red Noise]]}} to more recently explore [[Electropop]] himself, likewise played on YMO's {{nowrap|''Naughty Boys''}} (1983), its non-vocals variant {{nowrap|''Naughty Boys Instrumental''}} (1984) and subsequent solo {{nowrap|Yukihiro Takahashi}} projects, before featuring the latter on two of Nelson's own UK based releases.
+Following an advertising deal with [[Fujifilm|Fuji Cassette]], the group sparked a boom in the popularity of electronic pop music, called "[[synthpop|technopop]]" in Japan,<ref name="guardian_ymo">{{cite news|last=Lewis|first=John|title=Back to the future: Yellow Magic Orchestra helped usher in electronica – and they may just have invented hip-hop, too|url=https://www.theguardian.com/music/2008/jul/04/electronicmusic.filmandmusic11|work=The Guardian|location=UK|access-date=May 25, 2011|date=July 4, 2008|archive-date=November 11, 2011|archive-url=https://web.archive.org/web/20111111061211/http://www.guardian.co.uk/music/2008/jul/04/electronicmusic.filmandmusic11|url-status=live}}</ref><ref name="sarasota">{{cite journal|title=Computer rock music gaining fans|journal=[[Sarasota Journal]]|date=August 18, 1980|url=https://news.google.com/newspapers?id=7s4mAAAAIBAJ&sjid=h44EAAAAIBAJ&pg=4481,2128223|access-date=May 25, 2011|page=8|archive-date=October 19, 2015|archive-url=https://web.archive.org/web/20151019003232/https://news.google.com/newspapers?id=7s4mAAAAIBAJ&sjid=h44EAAAAIBAJ&pg=4481,2128223|url-status=live}}</ref> where they had an effect similar to that of [[the Beatles]] and [[Beat music|Merseybeat]] in 1960s Britain.<ref name="guardian_ymo"/> For some time, YMO was the most popular band in Japan.<ref name="guardian_ymo"/> Successful solo act [[Akiko Yano]] (later married to Sakamoto) joined the band for its live performances in the late 1970s and early 1980s, but did not participate in the studio recordings. On the other hand, the YMO trio contributed to her own albums and became part of her live band, during these same years.{{citation needed|date=February 2011}} Legendary English guitarist {{nowrap|[[Bill Nelson (musician)|Bill Nelson]]}}, who had disbanded {{nowrap|[[Be-Bop Deluxe]]}} and {{nowrap|[[Bill Nelson's Red Noise|Red Noise]]}} to more recently explore [[Electropop]] himself, likewise played on YMO's {{nowrap|''Naughty Boys''}} (1983), its non-vocals variant {{nowrap|''Naughty Boys Instrumental''}} (1984) and subsequent solo {{nowrap|Yukihiro Takahashi}} projects, before featuring the latter on two of Nelson's own UK based releases.
 Making abundant use of new synthesizers, [[Sampler (musical instrument)|samplers]], [[music sequencer|sequencers]], [[drum machine]]s, computers and digital recording technology as it became available, as well as utilizing [[cyberpunk]]-ish lyrics sung mostly in English, they extended their popularity and influence beyond Japan.<ref name="allmusic_ymo"/><ref name="sarasota"/><ref name="clashmusic">{{cite web|title=Senor Coconut|author=Paul Sullivan|work=clashmusic.com|date=September 1, 2007|url=http://www.clashmusic.com/feature/senor-coconut|access-date=May 29, 2011|archive-date=February 3, 2008|archive-url=https://web.archive.org/web/20080203191201/http://www.clashmusic.com/feature/senor-coconut|url-status=live}}</ref>
@@ Line 58: / Line 44: @@
 ''Solid State Survivor'' went on to sell over 2 million records worldwide.<ref name="Hardy_1987">{{cite book|title=Encyclopedia of Rock|author1=Phil Hardy |author2=Dave Laing |author3=Stephen Barnard |year=1987|edition=2nd|publisher=Macdonald Orbis|isbn=0-356-14274-4|url=https://books.google.com/books?id=tgcKAQAAMAAJ|page=476}}</ref> By 1980, YMO had become the most popular group in Japan, where they were performing to sold-out crowds. Their first live album ''[[Public Pressure]]'' set a record in Japan, topping the charts and selling 250,000 copies within two weeks, while their next studio album ''[[X∞Multiplies]]'' had 200,000 pre-orders before release.<ref name="sarasota"/> The same year, their albums ''Solid State Survivor'' and ''X∞Multiplies'' held the top two spots on the [[Oricon]] charts for seven consecutive weeks, making YMO the only band in Japanese chart history to achieve this feat.<ref name="oricon_ymo">{{cite web|title=ポルノが24年ぶりの快挙達成！|publisher=[[Oricon]]|date=August 17, 2004|url=http://www.oricon.co.jp/news/ranking/5122/|access-date=June 9, 2011|archive-date=October 24, 2012|archive-url=https://web.archive.org/web/20121024002827/http://www.oricon.co.jp/news/ranking/5122/|url-status=live}} ([https://translate.google.com/translate?hl=en&sl=ja&u=http://www.oricon.co.jp/news/ranking/5122/ Translation] {{Webarchive|url=https://web.archive.org/web/20190420110818/https://translate.google.com/translate?hl=en&sl=ja&u=http://www.oricon.co.jp/news/ranking/5122/ |date=April 20, 2019 }})</ref>
-The 1980 song "[[x∞Multiplies|Multiplies]]" was an early experiment in electronic [[ska]].<ref name="sicko_brewster"/> ''X∞Multiplies'' was followed up with the 1981 album ''[[BGM (album)|BGM]]''.<ref name="allmusic_bgm" /> ''UnderMain Magazine'' noted the album's significance in the early history of [[hip hop]], describing its "groundbreaking" use of the [[Roland TR-808]] drum machine, the song "Music Plans" as where "the beginnings of that funky, electronic boom-bap vibe of hip-hop beats start to emerge" and the song "Rap Phenomena" as "an aural ''[[Australopithecus]]'' of electronic rap music."<ref name="undermain2">{{cite news |last1=Clenney |first1=Chuck |date=4 October 2022 |title=Did Japan Invent Hip-Hop? |url=https://undermain.art/arts-culture-news/did-japan-invent-hip-hop/?fbclid=IwAR3Ysor5cKQIjkxS6AP0I7K8-DsH52H8511tIY0nhXiPS_YAz4-VrxiSdbE |access-date=8 March 2025 |work=UnderMain Magazine}}</ref><ref name="allmusic_bgm">{{allMusic|class=album|id=r53034|access-date=May 29, 2011}}</ref> It was followed by their next album later the same year, ''[[Technodelic]]'', which is significant for its early use of [[Sampling (music)|sampling]] and [[Loop (music)|loops]].<ref name="thevinyldistrict" />
+The 1980 song "[[x∞Multiplies|Multiplies]]" was an early experiment in electronic [[ska]].<ref name="sicko_brewster"/> ''X∞Multiplies'' was followed up with the 1981 album ''[[BGM (album)|BGM]]''. "Rap Phenomena" from the album was an early attempt at electronic rap.<ref name="allmusic_bgm">{{allMusic|class=album|id=r53034|access-date=May 29, 2011}}</ref>
-They also had similar success abroad, performing to sold-out crowds during tours in the United States and Europe.<ref name="sarasota"/> The single "Computer Game" had sold 400,000 copies in the United States<ref name="sarasota"/> and reached No. 17 in the UK Charts. The group also performed "Firecracker" and "[[Tighten Up (Archie Bell & the Drells song)#Covers|Tighten Up]]" live on the ''[[Soul Train]]'' television show. At around the same time, the 1980 song "Riot in Lagos" by YMO member Sakamoto from his album ''[[B-2 Unit]]'' pioneered the beats and sounds of [[electro music]].<ref name="wire_1996">{{citation|title=A–Z Of Electro|work=[[The Wire (magazine)|The Wire]]|issue=145|date=March 1996|author=David Toop|url=http://www.thewire.co.uk/articles/210/|access-date=May 29, 2011|archive-date=June 29, 2011|archive-url=https://web.archive.org/web/20110629195229/http://www.thewire.co.uk/articles/210/|url-status=live}}</ref><ref name="broughton_2007">{{cite book|last=Broughton|first=Frank|title=La historia del DJ / The DJ's Story, Volume 2|year=2007|publisher=Ediciones Robinbook|isbn=978-84-96222-79-3|url=https://books.google.com/books?id=1GMxP6mpRdgC&pg=PA121|page=121}}</ref> The band was particularly popular with the emerging [[hip hop]] community, which appreciated the group's electronic sounds, and in [[the Bronx]] where "Firecracker" was a success and sampled in the famous ''Death Mix'' (1983) by [[Afrika Bambaataa]].<ref name="wire_1996"/><ref name="buckley_2003">{{cite book|last=Buckley|first=Peter|title=The rough guide to rock|year=2003|publisher=[[Rough Guides]]|isbn=1-84353-105-4|url=https://books.google.com/books?id=7ctjc6UWCm4C&pg=PT908|page=901}}</ref> Bambaataa also cited YMO's subsequent albums along with Sakamoto's "Riot in Lagos" as influences.<ref name="undermain2" /> Meanwhile, in Japan, YMO remained the best-selling music act there up until 1982.<ref>{{citation|title=Pioneering Production Economy in the '80s|magazine=[[Billboard (magazine)|Billboard]]|date=May 29, 1982|volume=94|issue=21|issn=0006-2510|page=41|url=https://books.google.com/books?id=byQEAAAAMBAJ&pg=PT41}}</ref>
+They also had similar success abroad, performing to sold-out crowds during tours in the United States and Europe.<ref name="sarasota"/> The single "Computer Game" had sold 400,000 copies in the United States<ref name="sarasota"/> and reached No. 17 in the UK Charts. The group also performed "Firecracker" and "[[Tighten Up (Archie Bell & the Drells song)#Covers|Tighten Up]]" live on the ''[[Soul Train]]'' television show. At around the same time, the 1980 song "Riot in Lagos" by YMO member Sakamoto pioneered the beats and sounds of [[electro music]].<ref name="wire_1996">{{citation|title=A–Z Of Electro|work=[[The Wire (magazine)|The Wire]]|issue=145|date=March 1996|author=David Toop|url=http://www.thewire.co.uk/articles/210/|access-date=May 29, 2011|archive-date=June 29, 2011|archive-url=https://web.archive.org/web/20110629195229/http://www.thewire.co.uk/articles/210/|url-status=live}}</ref><ref name="broughton_2007">{{cite book|last=Broughton|first=Frank|title=La historia del DJ / The DJ's Story, Volume 2|year=2007|publisher=Ediciones Robinbook|isbn=978-84-96222-79-3|url=https://books.google.com/books?id=1GMxP6mpRdgC&pg=PA121|page=121}}</ref> The band was particularly popular with the emerging [[hip hop]] community, which appreciated the group's electronic sounds, and in [[the Bronx]] where "Firecracker" was a success and sampled in the famous ''Death Mix'' (1983) by [[Afrika Bambaataa]].<ref name="wire_1996"/><ref name="buckley_2003">{{cite book|last=Buckley|first=Peter|title=The rough guide to rock|year=2003|publisher=[[Rough Guides]]|isbn=1-84353-105-4|url=https://books.google.com/books?id=7ctjc6UWCm4C&pg=PT908|page=901}}</ref> Meanwhile, in Japan, YMO remained the best-selling music act there up until 1982.<ref>{{citation|title=Pioneering Production Economy in the '80s|magazine=[[Billboard (magazine)|Billboard]]|date=May 29, 1982|volume=94|issue=21|issn=0006-2510|page=41|url=https://books.google.com/books?id=byQEAAAAMBAJ&pg=PT41}}</ref>
 ===1984–1993: breakup and brief reunion===
 The band had paused their group activities by 1984. After the release of their musical motion picture ''Propaganda'', the three members had returned to their solo careers. They were careful to avoid saying they had "split up", preferring to use the Japanese phrase meaning {{Nihongo|"spreading out"|散開|sankai}}, and the trio continued to play on each other's recordings and made guest appearances at live shows. Takahashi, in particular, would play the band's material in his concerts. Meanwhile, Sakamoto would gain international success for his work as a solo artist, actor, and [[film composer]],<ref name="billboard_1996">{{citation|title=Q&A With Ryuichi Sakamoto: Pop Pioneer And Producer And Award-Winning Soundtrack Composer|magazine=[[Billboard (magazine)|Billboard]]|date=August 31, 1996|volume=108|issue=35|issn=0006-2510|page=72|url=https://books.google.com/books?id=vwcEAAAAMBAJ&pg=PA72}}</ref> winning [[Grammy Award|Grammy]], [[Academy Award|Oscar]], and [[Golden Globe Award|Golden Globe]] awards.<ref name="boston_1998"/>
-Yellow Magic Orchestra released a one-off reunion album, ''[[Technodon]]'', and credited it to 'NOT YMO' (YMO crossed out with a calligraphy X) or <s>YMO</s> in 1993.{{Citation needed|date=June 2011}} In contrast to the group's earlier synth-pop style, ''Technodon'' sees the group adopting a more [[ambient techno]] sound. During their brief reunion in the early 1990s, they continued to experiment with new styles of electronic music, playing an instrumental role in the [[techno]] and [[acid house]] movements of the era.<ref name="UGO">{{cite web|title=Ryuichi Sakamoto|publisher=[[UGO Networks]]|url=http://www.ugo.com/channels/music/features/bandsondemand/artist.aspx?artist=ryuichisakamoto&cat=electronica&full=Ryuichi%20Sakamoto|archive-url=https://web.archive.org/web/20070817022440/http://www.ugo.com/channels/music/features/bandsondemand/artist.aspx?artist=RyuichiSakamoto&cat=Electronica&full=Ryuichi+Sakamoto|url-status=dead|archive-date=August 17, 2007|access-date=May 27, 2011}}</ref>
+Yellow Magic Orchestra released a one-off reunion album, ''[[Technodon]]'', and credited it to 'NOT YMO' (YMO crossed out with a calligraphy X) or <s>YMO</s> in 1993.{{Citation needed|date=June 2011}} Instead of traditional vocals, about half of it features field audio recordings and samples of authors and scientists reading their work.{{Citation needed|date=June 2011}} During their brief reunion in the early 1990s, they continued to experiment with new styles of electronic music, playing an instrumental role in the [[techno]] and [[acid house]] movements of the era.<ref name="UGO">{{cite web|title=Ryuichi Sakamoto|publisher=[[UGO Networks]]|url=http://www.ugo.com/channels/music/features/bandsondemand/artist.aspx?artist=ryuichisakamoto&cat=electronica&full=Ryuichi%20Sakamoto|archive-url=https://web.archive.org/web/20070817022440/http://www.ugo.com/channels/music/features/bandsondemand/artist.aspx?artist=RyuichiSakamoto&cat=Electronica&full=Ryuichi+Sakamoto|url-status=dead|archive-date=August 17, 2007|access-date=May 27, 2011}}</ref>
 ===2002–2023: post-breakup and reformation ===
@@ Line 91: / Line 77: @@
 While their contemporaries in [[Düsseldorf]], and later Detroit, were using synthesizer technology to create bleak [[dystopia]]n music, YMO introduced a more "joyous and liberating" approach to electronic music. According to Sakamoto, they were "tired" of Japanese musicians imitating [[Western culture|Western]] and [[Music of the United States|American music]] at the time and so they wanted to "make something very original from Japan."<ref name="sfweekly_interview"/> Kraftwerk was particularly an influence on Sakamoto, who heard the band in the mid-1970s and later introduced them to his fellow band members.<ref name="sfweekly_interview"/> They were impressed with Kraftwerk's "very formalized" style but wanted to avoid imitating their "very German" approach. He described Kraftwerk's music as "theoretical, very focused, simple and minimal and strong".<ref name="geeta_disco">{{cite web|author=Geeta Dayal|publisher=The Original Soundtrack|access-date=June 3, 2011|title='Studio 84': Digging into the History of Disco in India|date=August 29, 2010|url=http://www.theoriginalsoundtrack.com/2010/08/studio-84-the-history-of-disco-in-india/|archive-url=https://web.archive.org/web/20110728094952/http://www.theoriginalsoundtrack.com/2010/08/studio-84-the-history-of-disco-in-india/|archive-date=July 28, 2011|url-status=dead}}</ref> Their alternative template for electronic pop was less [[Minimalistic music|minimalistic]], made more varying use of synthesizer lines, introduced "fun-loving and breezy" sounds,<ref name="bogdanov_565">{{cite book|last=Bogdanov|first=Vladimir|title=All music guide to electronica: the definitive guide to electronic music|year=2001|publisher=[[Hal Leonard Corporation|Backbeat Books]]|isbn=0-87930-628-9|url=https://books.google.com/books?id=GJNXLSBlL7IC&pg=PT516|edition=4th|page=565}}</ref> and placed a strong emphasis on [[melody]]<ref name="sfweekly_interview"/> in contrast to Kraftwerk's statuesque "robot pop".<ref>{{allMusic|id=p4706|label=Kraftwerk}}</ref>
-The band also drew from a wider range of influences than had been employed by Kraftwerk.<ref name="sicko_brewster">{{cite book|title=Techno Rebels|author1=Dan Sicko  |author2=Bill Brewster |name-list-style=amp |edition=2nd|publisher=[[Wayne State University Press]]|year=2010|isbn=978-0-8143-3438-6|pages=27–8|url=https://books.google.com/books?id=h6TNjUt-QrkC&pg=PA27}}</ref> These influences on YMO included [[Electronic music#Japanese electronic music|Japanese electronic music]] (such as [[Isao Tomita]]),<ref name="loubet_couroux">{{cite journal|title=Laptop Performers, Compact Disc Designers, and No-Beat Techno Artists in Japan: Music from Nowhere|journal=[[Computer Music Journal]]|date=Winter 2000|volume=24|issue=4|pages=19–32|jstor=3681552|author1=Emmanuelle Loubet  |author2=Marc Couroux |name-list-style=amp |publisher=[[MIT Press]]|doi=10.1162/014892600559498|s2cid=32835136}}</ref> traditional [[Music of Japan|Japanese music]], experimental [[Music of China|Chinese music]] (of the [[Cultural Revolution]] era),<ref name="sfweekly_interview">{{cite web|last=Stout|first=Andrew|title=Yellow Magic Orchestra on Kraftwerk and How to Write a Melody During a Cultural Revolution|url=http://blogs.sfweekly.com/shookdown/2011/06/yellow_magic_orchestras_ryuich.php|work=[[SF Weekly]]|access-date=June 30, 2011|date=June 24, 2011|archive-date=September 3, 2011|archive-url=https://web.archive.org/web/20110903004312/http://blogs.sfweekly.com/shookdown/2011/06/yellow_magic_orchestras_ryuich.php|url-status=live}}</ref> [[Music of India|Indian music]] (such as [[Ravi Shankar]] and [[Filmi|Bollywood music]]),<ref name="pitchfork"/> arcade game samples,<ref name="guardian_ymo"/><ref name="wire_2002">{{citation|title=The Wire, Issues 221–226|work=[[The Wire (magazine)|The Wire]]|year=2002|page=44|url=https://books.google.com/books?id=qyFMAAAAYAAJ}}</ref> American [[Rapping|rap]],<ref name="allmusic_bgm"/> [[exotica]],<ref name="sicko_brewster"/> [[List of Caribbean music genres|Caribbean]] ska,<ref name="sicko_brewster"/> [[Giorgio Moroder]]'s disco work,<ref name="allmusic_ymo"/> the Beatles, [[the Beach Boys]] and their leader [[Brian Wilson]],<ref name=RBMA2014solo>{{cite web|last1=Tanaka|first1=Yuji|last2=Thomas|first2=Andy|last3=Walk|first3=Douglas|title=YMO solo guide|url=http://www.redbullmusicacademy.com/magazine/yellow-magic-orchestra-solo-discography|publisher=[[Red Bull Music Academy]]|access-date=November 11, 2014|archive-date=November 16, 2014|archive-url=https://web.archive.org/web/20141116022850/http://www.redbullmusicacademy.com/magazine/yellow-magic-orchestra-solo-discography|url-status=live}}</ref> [[Van Dyke Parks]],{{citation needed|date=November 2014}} classical music,<ref name="dayal_interview"/> [[Zoomusicology|animal sounds]],<ref>{{YouTube|vKRIt8S5ArY|YMO – Rydeen 2 (2003 television interview)}}</ref> and [[Noise (music)|noise]].<ref name="guardian_hoban">{{cite news|url=http://www.guardian.co.uk/music/2009/may/19/turning-japanese-ryuichi-sakamoto|title=Turning Japanese: The Philosophy of Ryuichi Sakamoto|work=The Guardian|location=UK|first=Alex|last=Hoban|date=May 19, 2009|access-date=July 16, 2011|archive-date=November 11, 2011|archive-url=https://web.archive.org/web/20111111055643/http://www.guardian.co.uk/music/2009/may/19/turning-japanese-ryuichi-sakamoto|url-status=live}}</ref> Sakamoto has expressed that his "concept when making music is that there is no border between music and noise."<ref name="guardian_hoban"/>
+The band also drew from a wider range of influences than had been employed by Kraftwerk.<ref name="sicko_brewster">{{cite book|title=Techno Rebels|author1=Dan Sicko  |author2=Bill Brewster |name-list-style=amp |edition=2nd|publisher=[[Wayne State University Press]]|year=2010|isbn=978-0-8143-3438-6|pages=27–8|url=https://books.google.com/books?id=h6TNjUt-QrkC&pg=PA27}}</ref> These influences on YMO included [[Electronic music#Japanese electronic music|Japanese electronic music]] (such as [[Isao Tomita]]),<ref name="loubet_couroux">{{cite journal|title=Laptop Performers, Compact Disc Designers, and No-Beat Techno Artists in Japan: Music from Nowhere|journal=[[Computer Music Journal]]|date=Winter 2000|volume=24|issue=4|pages=19–32|jstor=3681552|author1=Emmanuelle Loubet  |author2=Marc Couroux |name-list-style=amp |publisher=[[MIT Press]]|doi=10.1162/014892600559498|s2cid=32835136}}</ref> traditional [[Music of Japan|Japanese music]], experimental [[Music of China|Chinese music]] (of the [[Cultural Revolution]] era),<ref name="sfweekly_interview">{{cite web|last=Stout|first=Andrew|title=Yellow Magic Orchestra on Kraftwerk and How to Write a Melody During a Cultural Revolution|url=http://blogs.sfweekly.com/shookdown/2011/06/yellow_magic_orchestras_ryuich.php|work=[[SF Weekly]]|access-date=June 30, 2011|date=June 24, 2011|archive-date=September 3, 2011|archive-url=https://web.archive.org/web/20110903004312/http://blogs.sfweekly.com/shookdown/2011/06/yellow_magic_orchestras_ryuich.php|url-status=live}}</ref> [[Music of India|Indian music]] (such as [[Ravi Shankar]] and [[Filmi|Bollywood music]]),<ref name="pitchfork"/> arcade game samples,<ref name="guardian_ymo"/><ref name="wire_2002">{{citation|title=The Wire, Issues 221–226|work=[[The Wire (magazine)|The Wire]]|year=2002|page=44|url=https://books.google.com/books?id=qyFMAAAAYAAJ}}</ref> American [[Rapping|rap]],<ref name="allmusic_bgm"/> [[exotica]],<ref name="sicko_brewster"/> [[List of Caribbean music genres|Caribbean]] ska,<ref name="sicko_brewster"/> [[Giorgio Moroder]]'s disco work,<ref name="allmusic_ymo"/> the Beatles, [[the Beach Boys]] and their leader [[Brian Wilson]],<ref name=RBMA2014solo>{{cite web|last1=Tanaka|first1=Yuji|last2=Thomas|first2=Andy|last3=Walk|first3=Douglas|title=YMO solo guide|url=http://www.redbullmusicacademy.com/magazine/yellow-magic-orchestra-solo-discography|publisher=[[Red Bull Music Academy]]|access-date=November 11, 2014|archive-date=November 16, 2014|archive-url=https://web.archive.org/web/20141116022850/http://www.redbullmusicacademy.com/magazine/yellow-magic-orchestra-solo-discography|url-status=live}}</ref> [[Van Dyke Parks]],{{citation needed|date=November 2014}} classical music,<ref name="dayal_interview"/> [[Zoomusicology|animal sounds]],<ref>{{YouTube|vKRIt8S5ArY|YMO – Rydeen 2 (2003 television interview)}}</ref> and [[Noise (music)|noise]].<ref name="guardian_hoban">{{cite news|url=https://www.theguardian.com/music/2009/may/19/turning-japanese-ryuichi-sakamoto|title=Turning Japanese: The Philosophy of Ryuichi Sakamoto|work=The Guardian|location=UK|first=Alex|last=Hoban|date=May 19, 2009|access-date=July 16, 2011|archive-date=November 11, 2011|archive-url=https://web.archive.org/web/20111111055643/http://www.guardian.co.uk/music/2009/may/19/turning-japanese-ryuichi-sakamoto|url-status=live}}</ref> Sakamoto has expressed that his "concept when making music is that there is no border between music and noise."<ref name="guardian_hoban"/>
 ===Sampling===
@@ Line 106: / Line 92: @@
 ===Instruments===
-[[File:Roland TR-808 drum machine.jpg|thumb|right|upright=1.14|YMO was the first band to use the [[Roland TR-808|Roland TR-808 Rhythm Composer]], which has appeared on more hit records than any other drum machine.]]
+[[File:Roland TR-808 drum machine.jpg|thumb|right|upright=1.14|YMO were the first band to use the [[Roland TR-808|Roland TR-808 Rhythm Composer]], which has appeared on more hit records than any other drum machine.]]
-The band often utilized a wide variety of state-of-the-art [[electronic musical instrument|electronic music equipment]] immediately as they were made available.<ref name=Tanaka2014 /><ref name="discogs_ymo_lp">{{Discogs release|453067|Yellow Magic Orchestra – Yellow Magic Orchestra}}</ref> The group leader Haruomi Hosono had already been using an [[Ace Tone]] [[rhythm machine]] since early in his career in the early 1970s.<ref name="wire2017"/> ''Yellow Magic Orchestra'' and Ryuichi Sakamoto's ''Thousand Knives'' were one of the earliest [[popular music]] albums to utilize the [[Roland MC-8 Microcomposer]], which was programmed by [[Hideki Matsutake]] during recording sessions.<ref name="knives_cd"/><ref name="discogs_ymo_lp"/> Roland called the MC-8 a "[[computer music]] composer" and it was the first stand-alone [[microprocessor]]-based [[music sequencer]].<ref>{{cite book|last=Russ|first=Martin|title=Sound Synthesis and Sampling|year=2008|publisher=[[Focal Press]]|isbn=978-0-240-52105-3|url=https://books.google.com/books?id=_D2cTt5DPmEC&pg=PA346|page=346}}</ref><ref name="SOS Nov. 2004">{{cite journal |author=Gordon Reid |title=The History Of Roland Part 1: 1930–1978 |date=Nov 2004 |url=http://www.soundonsound.com/sos/nov04/articles/roland.htm |journal=[[Sound on Sound]] |access-date=June 19, 2011 |archive-date=June 29, 2011 |archive-url=https://web.archive.org/web/20110629214447/http://www.soundonsound.com/sos/nov04/articles/roland.htm |url-status=live }}</ref><ref>[[Joel Chadabe|Chadabe, Joel]]. 1997. ''Electric Sound: The Past and Promise of Electronic Music''. Upper Saddle River, New Jersey: Prentice Hall, (p. 194). {{ISBN|978-0-13-303231-4}}.</ref> It also introduced features such as a [[keypad]] to enter note information and 16 [[Kilobyte|KB]] of [[random access memory|RAM]] which allowed a maximum sequence length of 5200 notes, a huge step forward from the 8–16 [[step sequencer]]s of the era.<ref name="SOS Nov. 2004"/> While it was commercially unsuccessful due to its high price,<ref name="SOS Nov. 2004"/> the band were among the few bands at the time to utilize the MC-8, which they described as, along with its [[Programming (music)|music programmer]] Hideki Matsutake, an "inevitable factor" in both their music production and [[Concert|live performances]].<ref name="sound_147">{{cite book|title=Sound International|issue=Issues 33–40|year=1981|url=https://books.google.com/books?id=Sj5LAAAAYAAJ|page=147|access-date=March 13, 2016|archive-date=July 25, 2023|archive-url=https://web.archive.org/web/20230725172328/https://books.google.com/books?id=Sj5LAAAAYAAJ|url-status=live}}</ref> "[[Behind the Mask (Yellow Magic Orchestra song)|Behind the Mask]]" (1979) made use of synthesizers for the melodies and digital [[gated reverb]] for the [[snare drum]]s.<ref name=Tanaka2014/> It was one of the first songs to use gated reverb, a technique that later became popular in 1980s pop music.<ref>{{cite web |last1=Bocaro |first1=Madeline |title=Behind The Mask |url=https://madelinex.com/2020/04/25/behind-the-mask/ |website=Madelinex |access-date=10 February 2025 |date=25 April 2020}}</ref>
+The band often utilized a wide variety of state-of-the-art [[electronic musical instrument|electronic music equipment]] immediately as they were made available.<ref name=Tanaka2014 /><ref name="discogs_ymo_lp">{{Discogs release|453067|Yellow Magic Orchestra – Yellow Magic Orchestra}}</ref> The group leader Haruomi Hosono had already been using an [[Ace Tone]] [[rhythm machine]] since early in his career in the early 1970s.<ref name="wire2017"/> ''Yellow Magic Orchestra'' and Ryuichi Sakamoto's ''Thousand Knives'' were one of the earliest [[popular music]] albums to utilize the [[Roland MC-8 Microcomposer]], which was programmed by [[Hideki Matsutake]] during recording sessions.<ref name="knives_cd"/><ref name="discogs_ymo_lp"/> Roland called the MC-8 a "[[computer music]] composer" and it was the first stand-alone [[microprocessor]]-based [[music sequencer]].<ref>{{cite book|last=Russ|first=Martin|title=Sound Synthesis and Sampling|year=2008|publisher=[[Focal Press]]|isbn=978-0-240-52105-3|url=https://books.google.com/books?id=_D2cTt5DPmEC&pg=PA346|page=346}}</ref><ref name="SOS Nov. 2004">{{cite journal |author=Gordon Reid |title=The History Of Roland Part 1: 1930–1978 |date=Nov 2004 |url=http://www.soundonsound.com/sos/nov04/articles/roland.htm |journal=[[Sound on Sound]] |access-date=June 19, 2011 |archive-date=June 29, 2011 |archive-url=https://web.archive.org/web/20110629214447/http://www.soundonsound.com/sos/nov04/articles/roland.htm |url-status=live }}</ref><ref>[[Joel Chadabe|Chadabe, Joel]]. 1997. ''Electric Sound: The Past and Promise of Electronic Music''. Upper Saddle River, New Jersey: Prentice Hall, (p. 194). {{ISBN|978-0-13-303231-4}}.</ref> It also introduced features such as a [[keypad]] to enter note information and 16 [[Kilobyte|KB]] of [[random access memory|RAM]] which allowed a maximum sequence length of 5200 notes, a huge step forward from the 8–16 [[step sequencer]]s of the era.<ref name="SOS Nov. 2004"/> While it was commercially unsuccessful due to its high price,<ref name="SOS Nov. 2004"/> the band were among the few bands at the time to utilize the MC-8, which they described as, along with its [[Programming (music)|music programmer]] Hideki Matsutake, an "inevitable factor" in both their music production and [[Concert|live performances]].<ref name="sound_147">{{cite book|title=Sound International|issue=Issues 33–40|year=1981|url=https://books.google.com/books?id=Sj5LAAAAYAAJ|page=147|access-date=March 13, 2016|archive-date=July 25, 2023|archive-url=https://web.archive.org/web/20230725172328/https://books.google.com/books?id=Sj5LAAAAYAAJ|url-status=live}}</ref> "[[Behind the Mask (Yellow Magic Orchestra song)|Behind the Mask]]" (1979) made use of synthesizers for the melodies and digital [[gated reverb]] for the [[snare drum]]s.<ref name=Tanaka2014/>
-They were also the very first band to utilize the [[Roland TR-808|Roland TR-808 Rhythm Composer]], one of the first and most influential programmable drum machines, as soon as it was released in 1980.<ref name="cbc_808">{{cite news|title=Slaves to the rhythm: Kanye West is the latest to pay tribute to a classic drum machine|date=November 28, 2008|author=Jason Anderson|publisher=[[CBC News]]|url=https://www.cbc.ca/news/entertainment/slaves-to-the-rhythm-1.771508|access-date=May 29, 2011|archive-date=August 15, 2012|archive-url=https://web.archive.org/web/20120815200628/http://www.cbc.ca/news/arts/music/story/2008/11/27/f-history-of-the-808.html|url-status=live}}</ref> While the machine was initially unsuccessful due to its lack of digital sampling that the rival [[Linn LM-1]] offered, the TR-808 featured various unique artificial percussion sounds,<ref name="cbc_808"/> including a [[Bass drum|deep bass kick drum]],<ref name="hess_2007">{{citation|title=Icons of hip hop: an encyclopedia of the movement, music, and culture, Volume 1|author=Mickey Hess|publisher=[[ABC-CLIO]]|year=2007|isbn=978-0-313-33903-5|page=75|url=https://books.google.com/books?id=LldOLnIQ66cC&pg=PA75}}</ref><ref name="wired">{{cite magazine|title=Happy 808 Day |date=August 8, 2008 |magazine=[[Wired (magazine)|Wired]] |url=https://www.wired.com/geekdad/2008/08/happy-808-day/ |access-date=May 31, 2011 |url-status=dead |archive-url=https://web.archive.org/web/20111024194217/http://www.wired.com/geekdad/2008/08/happy-808-day |archive-date=October 24, 2011 }}</ref> "tinny [[Clapping|handclap]] sounds",<ref name="wired"/> "the ticky [[Snare drum|snare]], the tishy [[Hi-hat (instrument)|hi-hats]] (open and closed)", and "the spacey [[Cowbell (instrument)|cowbell]]",<ref name="cbc_808"/> which YMO utilized and demonstrated in their music, as early as its year of release in 1980, paving the way for the TR-808's mainstream popularity several years later,<ref name="cbc_808"/><ref name="hess_2007"/> after which it would be used for more hit records than any other drum machine<ref>{{cite book|title=A Beginner's Guide to Digital Video|author=Peter Wells|publisher=AVA Books|year=2004|isbn=2-88479-037-3|page=18|url=https://books.google.com/books?id=stvOCfhc_igC&pg=PA18|access-date=March 13, 2016|archive-date=July 25, 2023|archive-url=https://web.archive.org/web/20230725172330/https://books.google.com/books?id=stvOCfhc_igC&pg=PA18|url-status=live}}</ref> and continue to be widely used through to the present day.<ref name="cbc_808"/> Hosono said the 808 is his favourite machine because "that sound is close to the Japanese [[Wadaiko]] drum, it has a unique presence."<ref name="undermain">{{cite news |last1=Clenney |first1=Chuck |title=Did Japan Invent Hip-Hop? |url=https://undermain.art/arts-culture-news/did-japan-invent-hip-hop/?fbclid=IwAR3Ysor5cKQIjkxS6AP0I7K8-DsH52H8511tIY0nhXiPS_YAz4-VrxiSdbE |access-date=8 March 2025 |work=UnderMain Magazine |date=4 October 2022}}</ref>
+They were also the very first band to utilize the [[Roland TR-808|Roland TR-808 Rhythm Composer]], one of the first and most influential programmable drum machines, as soon as it was released in 1980.<ref name="cbc_808">{{cite news|title=Slaves to the rhythm: Kanye West is the latest to pay tribute to a classic drum machine|date=November 28, 2008|author=Jason Anderson|publisher=[[CBC News]]|url=https://www.cbc.ca/news/entertainment/slaves-to-the-rhythm-1.771508|access-date=May 29, 2011|archive-date=August 15, 2012|archive-url=https://web.archive.org/web/20120815200628/http://www.cbc.ca/news/arts/music/story/2008/11/27/f-history-of-the-808.html|url-status=live}}</ref> While the machine was initially unsuccessful due to its lack of digital sampling that the rival [[Linn LM-1]] offered, the TR-808 featured various unique artificial percussion sounds,<ref name="cbc_808"/> including a [[Bass drum|deep bass kick drum]],<ref name="hess_2007">{{citation|title=Icons of hip hop: an encyclopedia of the movement, music, and culture, Volume 1|author=Mickey Hess|publisher=[[ABC-CLIO]]|year=2007|isbn=978-0-313-33903-5|page=75|url=https://books.google.com/books?id=LldOLnIQ66cC&pg=PA75}}</ref><ref name="wired">{{cite magazine|title=Happy 808 Day |date=August 8, 2008 |magazine=[[Wired (magazine)|Wired]] |url=https://www.wired.com/geekdad/2008/08/happy-808-day/ |access-date=May 31, 2011 |url-status=dead |archive-url=https://web.archive.org/web/20111024194217/http://www.wired.com/geekdad/2008/08/happy-808-day |archive-date=October 24, 2011 }}</ref> "tinny [[Clapping|handclap]] sounds",<ref name="wired"/> "the ticky [[Snare drum|snare]], the tishy [[Hi-hat (instrument)|hi-hats]] (open and closed)", and "the spacey [[Cowbell (instrument)|cowbell]]",<ref name="cbc_808"/> which YMO utilized and demonstrated in their music, as early as its year of release in 1980, paving the way for the TR-808's mainstream popularity several years later,<ref name="cbc_808"/><ref name="hess_2007"/> after which it would be used for more hit records than any other drum machine<ref>{{cite book|title=A Beginner's Guide to Digital Video|author=Peter Wells|publisher=AVA Books|year=2004|isbn=2-88479-037-3|page=18|url=https://books.google.com/books?id=stvOCfhc_igC&pg=PA18|access-date=March 13, 2016|archive-date=July 25, 2023|archive-url=https://web.archive.org/web/20230725172330/https://books.google.com/books?id=stvOCfhc_igC&pg=PA18|url-status=live}}</ref> and continue to be widely used through to the present day.<ref name="cbc_808"/>
 At the time, ''[[Billboard (magazine)|Billboard]]'' noted that the use of such computer-based technology in conjunction with [[synthesizer]]s allowed YMO to create new sounds that were not possible until then.<ref name="billboard_1979"/> ''Yellow Magic Orchestra'' was also the first computer-themed music album, coming before Kraftwerk's ''[[Computer World]]'' (1981) by several years.<ref name="japantimes"/> As a result of such innovations, YMO were credited at the time for having "ushered in the age of the computer programmer as rock star."<ref name="sarasota"/>
@@ Line 118: / Line 104: @@
 ==Legacy==
-The band has been described as "the original [[cyberpunk]]s"<ref>{{cite news|last=Lester|first=Paul|title=Yellow Magic Orchestra|url=http://www.guardian.co.uk/music/2008/jun/20/culture.electronicmusic|work=The Guardian|location=UK|access-date=May 26, 2011|date=June 20, 2008|archive-date=November 11, 2011|archive-url=https://web.archive.org/web/20111111061232/http://www.guardian.co.uk/music/2008/jun/20/culture.electronicmusic|url-status=live}}</ref> and their early work has been described as "[[Techno|proto-techno]]" music.<ref name="keyboard_28">{{cite book|title=Keyboard, Volume 19, Issues 7–12|publisher=GPI Publications|year=1993|page=28|url=https://books.google.com/books?id=kJ4JAQAAMAAJ}}</ref><ref>{{cite web|title=Peter Stenshoel's Album of the Week: What, Me Worry? by Yukihiro Takahashi|publisher=[[KPCC (radio station)|KPCC]]|date=May 18, 2011|author=Peter Stenshoel|url=http://www.scpr.org/blogs/offramp/2011/05/18/peter-stenshoels-album-week-what-me-worry-yukihiro/|archive-url=https://archive.today/20120119181621/http://www.scpr.org/blogs/offramp/2011/05/18/peter-stenshoels-album-week-what-me-worry-yukihiro/|url-status=dead|archive-date=January 19, 2012|access-date=June 4, 2011}}</ref> By the 1990s, YMO were also frequently cited as pioneers of [[ambient house]] music.<ref name="allmusic_ymo"/> YMO also popularized a style of [[Concert|live performance]] that eschewed human movement in favour of electronics such as [[Drum machine|rhythm boxes]] and samplers.<ref name="takamura_1997">{{cite book|title=Roots of street style|author=Zeshu Takamura|publisher=Graphic-sha Publishing|year=1997|isbn=4-7661-0895-7|page=90|url=https://books.google.com/books?id=nW21AAAAIAAJ}}</ref> They also influenced the [[New Romanticism|New Romantic]] movement,<ref name="takamura_1997"/>{{failed verification|date=March 2017}} including British bands [[Duran Duran]]<ref name="guardian_ymo"/> and [[Japan (band)|Japan]], whose member [[Steve Jansen]] was influenced by drummer Takahashi,<ref name="japan_lifeintokyo">{{cite web|title=The Japanese Connection|date=July 1982|publisher=Japan: Life in Tokyo|url=http://www.lifeintokyo.net/articles_fl_japaneseconnection.html|access-date=April 1, 2011|archive-date=October 17, 2011|archive-url=https://web.archive.org/web/20111017045207/http://www.lifeintokyo.net/articles_fl_japaneseconnection.html|url-status=live}}</ref> while lead member [[David Sylvian]] was influenced by Sakamoto, who would later collaborate with Sylvian.<ref name="japan_lifeintokyo"/>
+The band has been described as "the original [[cyberpunk]]s"<ref>{{cite news|last=Lester|first=Paul|title=Yellow Magic Orchestra|url=https://www.theguardian.com/music/2008/jun/20/culture.electronicmusic|work=The Guardian|location=UK|access-date=May 26, 2011|date=June 20, 2008|archive-date=November 11, 2011|archive-url=https://web.archive.org/web/20111111061232/http://www.guardian.co.uk/music/2008/jun/20/culture.electronicmusic|url-status=live}}</ref> and their early work has been described as "[[Techno|proto-techno]]" music.<ref name="keyboard_28">{{cite book|title=Keyboard, Volume 19, Issues 7–12|publisher=GPI Publications|year=1993|page=28|url=https://books.google.com/books?id=kJ4JAQAAMAAJ}}</ref><ref>{{cite web|title=Peter Stenshoel's Album of the Week: What, Me Worry? by Yukihiro Takahashi|publisher=[[KPCC (radio station)|KPCC]]|date=May 18, 2011|author=Peter Stenshoel|url=http://www.scpr.org/blogs/offramp/2011/05/18/peter-stenshoels-album-week-what-me-worry-yukihiro/|archive-url=https://archive.today/20120119181621/http://www.scpr.org/blogs/offramp/2011/05/18/peter-stenshoels-album-week-what-me-worry-yukihiro/|url-status=dead|archive-date=January 19, 2012|access-date=June 4, 2011}}</ref> By the 1990s, YMO were also frequently cited as pioneers of [[ambient house]] music.<ref name="allmusic_ymo"/> YMO also popularized a style of [[Concert|live performance]] that eschewed human movement in favour of electronics such as [[Drum machine|rhythm boxes]] and samplers.<ref name="takamura_1997">{{cite book|title=Roots of street style|author=Zeshu Takamura|publisher=Graphic-sha Publishing|year=1997|isbn=4-7661-0895-7|page=90|url=https://books.google.com/books?id=nW21AAAAIAAJ}}</ref> They also influenced the [[New Romanticism|New Romantic]] movement,<ref name="takamura_1997"/>{{failed verification|date=March 2017}} including British bands [[Duran Duran]]<ref name="guardian_ymo"/> and [[Japan (band)|Japan]], whose member [[Steve Jansen]] was influenced by drummer Takahashi,<ref name="japan_lifeintokyo">{{cite web|title=The Japanese Connection|date=July 1982|publisher=Japan: Life in Tokyo|url=http://www.lifeintokyo.net/articles_fl_japaneseconnection.html|access-date=April 1, 2011|archive-date=October 17, 2011|archive-url=https://web.archive.org/web/20111017045207/http://www.lifeintokyo.net/articles_fl_japaneseconnection.html|url-status=live}}</ref> while lead member [[David Sylvian]] was influenced by Sakamoto, who would later collaborate with Sylvian.<ref name="japan_lifeintokyo"/>
 Various cover versions of "[[Naughty Boys (album)|Kimi ni Mune Kyun]]" (1983) have also been produced by other artists,<ref name="whosampled"/> including [[The Human League]] in 1993 ("[[YMO Versus The Human League]]")<ref name="YMO_League">{{cite web|title=Yellow Magic Orchestra Versus Human League, The – YMO Versus The Human League|date=April 21, 1993|publisher=[[Discogs]]|url=http://www.discogs.com/release/504204|access-date=May 28, 2011|archive-date=February 10, 2015|archive-url=https://web.archive.org/web/20150210005352/http://www.discogs.com/release/504204|url-status=live}}</ref> and [[Asako Toki]] in 2006.<ref name="whosampled"/> In 2009, a cover of "Kimi ni Mune Kyun" was used as the [[Music in Japanese animation|ending theme song]] for the [[anime]] adaptation of ''[[Maria Holic]]'', sung by [[Asami Sanada]], [[Marina Inoue]], and [[Yū Kobayashi]], the [[Seiyū|voice actresses]] of the main characters. In 2015, in the anime ''[[Sound! Euphonium]]'', episode 5, the song "Rydeen" is played by Kitauji highschool's orchestra. The popular [[anime]] series ''[[Dragon Ball Z]]'' also paid homage to the band with the song "Solid State Scouter" as the theme song of the 1990 TV special ''[[Dragon Ball Z: Bardock – The Father of Goku]]''.
-In [[HMV]]'s list of top 100 Japanese musicians of all time, YMO were voted second place, behind only [[Southern All Stars]], a [[Pop rock|pop-rock]] band who remain largely unknown outside Japan.<ref name="geek_20">{{cite journal|title=Geek Monthly, Volumes 17–22|journal=[[Geek Monthly]]|year=2008|publisher=CFQ Media|url=https://books.google.com/books?id=oADsAAAAMAAJ|page=20}}</ref> In 2006, [[Uwe Schmidt|Senor Coconut]] paid tribute to the band with his ''[[Yellow Fever!]]'' album.<ref name="clashmusic"/>
+In [[HMV Group|HMV Japan]]'s list of top 100 Japanese musicians of all time, YMO were voted second place, behind only [[Southern All Stars]], a [[Pop rock|pop-rock]] band who remain largely unknown outside Japan.<ref name="geek_20">{{cite journal|title=Geek Monthly, Volumes 17–22|journal=[[Geek Monthly]]|year=2008|publisher=CFQ Media|url=https://books.google.com/books?id=oADsAAAAMAAJ|page=20}}</ref> In 2006, [[Uwe Schmidt|Senor Coconut]] paid tribute to the band with his ''[[Yellow Fever!]]'' album.<ref name="clashmusic"/>
 ===Electronic music===
-YMO were pioneers of [[synthpop]], a genre which emerged at the start of the 1980s. In 1993, Johnny Black of ''[[Hi-Fi News]]'', in a review for the record ''Hi-Tech/No Crime'', described YMO as "the most adventurous and influential [[Electronic dance music|electro-techno-dance]] technicians the world has produced" and further argued that "without them (and [[Kraftwerk]]) today's music would still sound like yesterday's music."<ref name="fidelity_1993">{{cite journal|title=Yellow Magic Orchestra: Hi Tech/No Crime|journal=[[Hi-Fi News]]|volume=38|issue=1–6|publisher=Link House Publications|author=Johnny Black|year=1993|page=93|url=https://books.google.com/books?id=-zg9AQAAIAAJ|access-date=March 13, 2016|archive-date=July 25, 2023|archive-url=https://web.archive.org/web/20230725172329/https://books.google.com/books?id=-zg9AQAAIAAJ|url-status=live}}</ref> In 2001, Jason Ankeny of the ''[[Allmusic|Allmusic Guide to Electronica]]'' described YMO as "a seminal influence on contemporary electronic music – hugely popular both at home and abroad" and placed them "second only to Kraftwerk as innovators of today's electronic culture."<ref>{{cite book |author1=Vladimir Bogdanov |title=All music guide to electronica: the definitive guide to electronic music |year=2001 |publisher=Backbeat Books |author2=Jason Ankeny |isbn=0-87930-628-9 |url=https://archive.org/details/allmusicguidetoe00vlad |url-access=registration |edition=4th |page=[https://archive.org/details/allmusicguidetoe00vlad/page/564 564]}}</ref> The 1980 release of Sakamoto's "Riot in Lagos" was listed by ''[[The Guardian]]'' in 2011 as one of the 50 key important events in the history of [[dance music]], listing at number six.<ref>{{cite news |last=Vine |first=Richard |date=July 9, 2011 |title=Ryuichi Sakamoto records Riot In Lagos |url=http://www.guardian.co.uk/music/2011/jun/15/ryuichi-sakamoto-riot-in-lagos |url-status=live |archive-url=https://web.archive.org/web/20110618211100/http://www.guardian.co.uk/music/2011/jun/15/ryuichi-sakamoto-riot-in-lagos |archive-date=June 18, 2011 |access-date=July 9, 2011 |work=The Guardian |location=UK}}</ref>
+YMO were pioneers of [[synthpop]], a genre which emerged at the start of the 1980s. In 1993, Johnny Black of ''[[Hi-Fi News]]'', in a review for the record ''Hi-Tech/No Crime'', described YMO as "the most adventurous and influential [[Electronic dance music|electro-techno-dance]] technicians the world has produced" and further argued that "without them (and [[Kraftwerk]]) today's music would still sound like yesterday's music."<ref name="fidelity_1993">{{cite journal|title=Yellow Magic Orchestra: Hi Tech/No Crime|journal=[[Hi-Fi News]]|volume=38|issue=1–6|publisher=Link House Publications|author=Johnny Black|year=1993|page=93|url=https://books.google.com/books?id=-zg9AQAAIAAJ|access-date=March 13, 2016|archive-date=July 25, 2023|archive-url=https://web.archive.org/web/20230725172329/https://books.google.com/books?id=-zg9AQAAIAAJ|url-status=live}}</ref> In 2001, Jason Ankeny of the ''[[Allmusic|Allmusic Guide to Electronica]]'' described YMO as "a seminal influence on contemporary electronic music – hugely popular both at home and abroad" and placed them "second only to Kraftwerk as innovators of today's electronic culture."<ref>{{cite book |author1=Vladimir Bogdanov |title=All music guide to electronica: the definitive guide to electronic music |year=2001 |publisher=Backbeat Books |author2=Jason Ankeny |isbn=0-87930-628-9 |url=https://archive.org/details/allmusicguidetoe00vlad |url-access=registration |edition=4th |page=[https://archive.org/details/allmusicguidetoe00vlad/page/564 564]}}</ref>
 YMO are considered pioneers in the field of popular electronic music, and continue to be [[remix]]ed or [[Sampling (music)|sampled]] by modern artists,<ref name="allmusic_ymo"/> including [[experimental music|experimental]] artist [[Yamantaka Eye]], [[electronica]] group [[LFO (British band)|LFO]], [[Drum and bass|jungle]] band [[4hero]], electrolatino artist [[Uwe Schmidt|Senor Coconut]], [[ambient house]] pioneers [[The Orb]] and [[808 State]],<ref name="dayal_interview"/> electronic music groups [[Orbital (band)|Orbital]]<ref name="camera_mosdell"/> and [[The Human League]],<ref name="YMO_League"/> hip hop pioneer [[Afrika Bambaataa]],<ref name="wire_1996"/> and mainstream pop musicians such as [[Michael Jackson]], [[Quincy Jones]], [[Greg Phillinganes]],<ref name="camera_mosdell">{{cite web|title=Chris Mosdell, quirky Boulder lyricist, wrote lyrics for newly released Michael Jackson song|author=Aimee Heckel|date=January 15, 2011|work=[[Camera (newspaper)|Daily Camera]]|url=http://www.dailycamera.com/entertainment/ci_17086830|access-date=June 19, 2011|archive-date=January 18, 2011|archive-url=https://web.archive.org/web/20110118075447/http://www.dailycamera.com/entertainment/ci_17086830|url-status=live}}</ref> [[Eric Clapton]], [[Mariah Carey]], and [[Jennifer Lopez]].<ref name="fox_mariah_jlo"/>
-YMO's success with music technology encouraged many others, with their influence strongly felt in the [[Second British Invasion|British electronic scene]] of the early 1980s in particular.<ref name="Hardy_1987"/> They influenced many early British synthpop acts, including [[Ultravox]], [[John Foxx]], [[Gary Numan]], [[Duran Duran]],<ref name="guardian_ymo"/> [[Depeche Mode]],<ref>{{cite news |last1=Armstrong |first1=Sam |title=Yellow Magic Orchestra Drummer And Singer Yukihiro Takahashi Dies At 70 |url=https://www.udiscovermusic.com/news/yellow-magic-orchestra-drummer-and-singer-yukihiro-takahashi-dies-at-70/ |access-date=6 March 2025 |work=[[uDiscover Music]] |publisher=[[Universal Music Group]] |date=16 January 2023}}</ref><ref>{{cite news |last1=Fragassi |first1=Selena |title=Yukihiro Takahashi, Yellow Magic Orchestra Drummer and Vocalist, Dies at 70 |url=https://www.spin.com/2023/01/yukihiro-takahashi-yellow-magic-orchestra-drummer-and-vocalist-dies-at-70/ |access-date=6 March 2025 |work=[[Spin (magazine)|Spin]] |date=15 January 2023}}</ref> [[Camouflage (band)|Camouflage]],<ref name="allmusic_ymo"/><ref>{{cite news|last=Bruce|first=Britt|title=Camouflage Emphasizes That It Is Its Own Band|url=https://www.chicagotribune.com/1988/12/22/camouflage-emphasizes-that-it-is-its-own-band/|access-date=May 26, 2012|newspaper=[[Chicago Tribune]], [[Los Angeles Daily News]]|date=December 22, 1988|archive-date=November 7, 2012|archive-url=https://web.archive.org/web/20121107085037/http://articles.chicagotribune.com/1988-12-22/features/8802260681_1_depeche-mode-band-electronic-music|url-status=live}}</ref> [[Orchestral Manoeuvres in the Dark|OMD]], The Human League,<ref name="sfweekly_interview"/> [[Visage (band)|Visage]],<ref>{{cite web|last=Lai|first=Chi Ming|title=Yellow Magic Orchestra & Friends: The Influence of Japanese Technopop|url=http://www.jpopgo.co.uk/jpg/?page_id=70|publisher=J-Pop Go|access-date=April 28, 2012|archive-url=https://web.archive.org/web/20111213054104/http://www.jpopgo.co.uk/jpg/?page_id=70|archive-date=December 13, 2011|url-status=dead}}</ref> and [[Art of Noise]],<ref>{{cite magazine|magazine=[[Billboard (magazine)|Billboard]]|date=April 19, 1986|volume=98|issue=16|issn=0006-2510|page=41|url=https://books.google.com/books?id=HSUEAAAAMBAJ&pg=PA43 |title=Billboard 19 April 1986 |access-date=October 9, 2013}}</ref> as well as American rock musicians such as [[Todd Rundgren]].<ref name="guardian_ymo"/>
+YMO also influenced [[techno]] music,<ref name="bogdanov_1996">{{cite book|last=Bogdanov|first=Vladimir|title=All music guide to electronica: the definitive guide to electronic music|year=2001|publisher=[[Hal Leonard Corporation|Backbeat Books]]|isbn=0-87930-628-9|url=https://books.google.com/books?id=GJNXLSBlL7IC&pg=PT582|edition=4th|page=582}}{{Dead link|date=May 2023 |bot=InternetArchiveBot |fix-attempted=yes }}</ref> including its pioneers [[Juan Atkins]], [[Kevin Saunderson]], and [[Derrick May (musician)|Derrick May]],<ref>[[Simon Reynolds|Reynolds, Simon]], ''Energy Flash: a Journey Through Rave Music and Dance Culture'', p. 15, Pan Macmillan, 1998 ({{ISBN|978-0330350563}})</ref> who cited YMO as an important influence on their work alongside Kraftwerk.<ref>Archived at [https://ghostarchive.org/varchive/youtube/20211211/9t3r3makyc4 Ghostarchive]{{cbignore}} and the [https://web.archive.org/web/20130801100047/http://www.youtube.com/watch?v=9t3r3makyc4 Wayback Machine]{{cbignore}}: {{cite web|title=Derrick May on the roots of techno at RBMA Bass Camp Japan 2010|url=https://www.youtube.com/watch?v=9t3r3makyc4|work=[[Red Bull Music Academy]]|publisher=[[YouTube]]|access-date=May 22, 2012|date=September 20, 2010}}{{cbignore}}</ref> YMO continued to influence later techno musicians such as [[Surgeon (musician)|Surgeon]], [[Mike Paradinas|μ-Ziq]], and [[Harald Blüchel|Cosmic Baby]].<ref name="allmusic_ymo"/> "[[Solid State Survivor|Technopolis]]" (1979) in particular is considered an "interesting contribution" to the development of [[Detroit techno]] and the group [[Cybotron (American band)|Cybotron]].<ref name="sicko_brewster"/> "Computer Game" (1978) also influenced Sheffield's [[Yorkshire Bleeps and Bass|bleep techno]] music; the [[Warp (record label)|Warp]] record, [[Sweet Exorcist (band)|Sweet Exorcist]]'s "[[WarpVision|Testone]]" (1990), defined Sheffield's techno sound by making playful use of sampled sounds from "Computer Game" along with dialogues from the film ''[[Close Encounters of the Third Kind]]'' (1977).<ref>{{citation|title=Techno Rebels|author1=Dan Sicko|author2=Bill Brewster|name-list-style=amp|edition=2nd|publisher=[[Wayne State University Press]]|year=2010|isbn=978-0-8143-3438-6|page=76|url=https://books.google.com/books?id=h6TNjUt-QrkC&pg=PA76|access-date=March 13, 2016|archive-date=July 25, 2023|archive-url=https://web.archive.org/web/20230725172329/https://books.google.com/books?id=h6TNjUt-QrkC&pg=PA76|url-status=live}}</ref> "Computer Game" (1978) was later included in [[Carl Craig]]'s compilation album ''Kings of Techno'' (2006).<ref>{{allMusic|album|r2014069|The Kings of Techno (Carl Craig)}}</ref>
-YMO also influenced [[techno]] music,<ref name="bogdanov_1996">{{cite book|last=Bogdanov|first=Vladimir|title=All music guide to electronica: the definitive guide to electronic music|year=2001|publisher=[[Hal Leonard Corporation|Backbeat Books]]|isbn=0-87930-628-9|url=https://books.google.com/books?id=GJNXLSBlL7IC&pg=PT582|edition=4th|page=582}}{{Dead link|date=May 2023 |bot=InternetArchiveBot |fix-attempted=yes }}</ref> including its pioneers [[Juan Atkins]], [[Kevin Saunderson]], and [[Derrick May (musician)|Derrick May]],<ref>[[Simon Reynolds|Reynolds, Simon]], ''Energy Flash: a Journey Through Rave Music and Dance Culture'', p. 15, Pan Macmillan, 1998 ({{ISBN|978-0330350563}})</ref> who cited YMO as an important influence on their work alongside Kraftwerk.<ref>Archived at [https://ghostarchive.org/varchive/youtube/20211211/9t3r3makyc4 Ghostarchive]{{cbignore}} and the [https://web.archive.org/web/20130801100047/http://www.youtube.com/watch?v=9t3r3makyc4 Wayback Machine]{{cbignore}}: {{cite web|title=Derrick May on the roots of techno at RBMA Bass Camp Japan 2010|url=https://www.youtube.com/watch?v=9t3r3makyc4|work=[[Red Bull Music Academy]]|publisher=[[YouTube]]|access-date=May 22, 2012|date=September 20, 2010}}{{cbignore}}</ref> YMO continued to influence later techno musicians such as [[Surgeon (musician)|Surgeon]], [[Mike Paradinas|μ-Ziq]], and [[Harald Blüchel|Cosmic Baby]].<ref name="allmusic_ymo"/> "[[Solid State Survivor|Technopolis]]" (1979) in particular is considered an "interesting contribution" to the development of [[Detroit techno]] and the group [[Cybotron (American band)|Cybotron]].<ref name="sicko_brewster"/> "Computer Game" (1978) also influenced Sheffield's [[Yorkshire Bleeps and Bass|bleep techno]] music; the [[Warp (record label)|Warp]] record, [[Sweet Exorcist (band)|Sweet Exorcist]]'s "Testone" (1990), defined Sheffield's techno sound by making playful use of sampled sounds from "Computer Game" along with dialogues from the film ''[[Close Encounters of the Third Kind]]'' (1977).<ref>{{citation|title=Techno Rebels|author1=Dan Sicko|author2=Bill Brewster|name-list-style=amp|edition=2nd|publisher=[[Wayne State University Press]]|year=2010|isbn=978-0-8143-3438-6|page=76|url=https://books.google.com/books?id=h6TNjUt-QrkC&pg=PA76|access-date=March 13, 2016|archive-date=July 25, 2023|archive-url=https://web.archive.org/web/20230725172329/https://books.google.com/books?id=h6TNjUt-QrkC&pg=PA76|url-status=live}}</ref> "Computer Game" (1978) was later included in [[Carl Craig]]'s compilation album ''Kings of Techno'' (2006).<ref>{{allMusic|album|r2014069|The Kings of Techno (Carl Craig)}}</ref>
+In the 1990s, YMO influenced [[ambient house]] pioneers such as [[The Orb]] and [[808 State]],<ref name="dayal_interview"/> as well as [[Ultramarine (band)|Ultramarine]] and other ambient/house artists.<ref name="allmusic_ymo"/> This resulted in the release of the tribute remix album ''Yellow Magic Orchestra: Hi-Tech/No Crime'' in 1993,<ref name="allmusic_ymo"/> by leading [[Ambient music|ambient]], [[House music|house]] and techno musicians at the time, including The Orb, 808 State, and Orbital.<ref>{{allMusic|album|r276109|Hi-Tech/No Crime: Yellow Magic Orchestra Reconstructed|access-date=June 19, 2011}}</ref> The music YMO produced during their comeback in the early 1990s also played an instrumental role in the techno and [[acid house]] movements towards the end of the 20th century.<ref name="UGO"/> The band's use of [[oriental musical scale]]s and video game sounds has continued to be an influence on 21st-century [[electronica]] acts such as [[Dizzee Rascal]], [[Kieran Hebden]],<ref name="guardian_ymo"/> and [[Ikonika]].<ref>{{cite web|last=Lawrence|first=Eddy|title=Ikonika interview: Producer and DJ, Ikonika had an incredible 2010|url=http://www.timeoutdoha.com/nightlife/features/20343-ikonika-interview|work=[[Time Out (company)|Time Out]]|access-date=August 5, 2011|date=January 11, 2011|archive-date=October 11, 2011|archive-url=https://web.archive.org/web/20111011103953/http://www.timeoutdoha.com/nightlife/features/20343-ikonika-interview|url-status=live}}</ref>
-The earliest use of the term "techno" in reference to an electronic genre is credited to YMO, who coined the term "techno-pop" in the late 1970s. They used the word 'techno' in a number of their works, such as the song "[[Solid State Survivor|Technopolis]]" (1979), the album ''[[Technodelic]]'' (1981), and a [[flexi disc]] EP, "[[After Service|The Spirit of Techno]]" (1983).<ref name="Pitchfork">{{cite news |last1=Reynolds |first1=Simon |title=Ryuichi Sakamoto’s Borderless Brilliance |url=https://pitchfork.com/features/afterword/ryuichi-sakamotos-borderless-brilliance/ |access-date=6 March 2025 |work=[[Pitchfork (website)|Pitchfork]] |date=2 April 2023}}</ref> "Technopolis", a tribute to Tokyo as an electronic [[mecca]] that used the term "techno" in its title, foreshadowed concepts that Juan Atkins and [[Richard Davis (techno artist)|Rick Davis]] would later have with Cybotron.<ref name="sicko_brewster"/> When Yellow Magic Orchestra toured the United States in 1980, they described their own music as technopop, and were written up in ''[[Rolling Stone]]'' magazine.<ref>{{Cite magazine|url=https://www.rollingstone.com/music/music-news/yellow-magic-orchestra-188812/|title=Yellow Magic Orchestra|first1=James|last1=Henke|magazine=[[Rolling Stone]]|date=12 June 1980|access-date=22 November 2019|archive-date=29 August 2019|archive-url=https://web.archive.org/web/20190829160404/https://www.rollingstone.com/music/music-news/yellow-magic-orchestra-188812/|url-status=live}}</ref>
+YMO's success with music technology encouraged many others, with their influence strongly felt in the [[Second British Invasion|British electronic scene]] of the early 1980s in particular.<ref name="Hardy_1987"/> They influenced many early British synthpop acts, including [[Ultravox]], [[John Foxx]], [[Gary Numan]], [[Duran Duran]],<ref name="guardian_ymo"/> [[Depeche Mode]],<ref name="allmusic_ymo"/> {{Not in source given|date=June 2022}} [[Camouflage (band)|Camouflage]],<ref name="allmusic_ymo"/><ref>{{cite news|last=Bruce|first=Britt|title=Camouflage Emphasizes That It Is Its Own Band|url=https://www.chicagotribune.com/1988/12/22/camouflage-emphasizes-that-it-is-its-own-band/|access-date=May 26, 2012|newspaper=[[Chicago Tribune]], [[Los Angeles Daily News]]|date=December 22, 1988|archive-date=November 7, 2012|archive-url=https://web.archive.org/web/20121107085037/http://articles.chicagotribune.com/1988-12-22/features/8802260681_1_depeche-mode-band-electronic-music|url-status=live}}</ref> [[Orchestral Manoeuvres in the Dark|OMD]], The Human League,<ref name="sfweekly_interview"/> [[Visage (band)|Visage]],<ref>{{cite web|last=Lai|first=Chi Ming|title=Yellow Magic Orchestra & Friends: The Influence of Japanese Technopop|url=http://www.jpopgo.co.uk/jpg/?page_id=70|publisher=J-Pop Go|access-date=April 28, 2012|archive-url=https://web.archive.org/web/20111213054104/http://www.jpopgo.co.uk/jpg/?page_id=70|archive-date=December 13, 2011|url-status=dead}}</ref> and [[Art of Noise]],<ref>{{cite magazine|magazine=[[Billboard (magazine)|Billboard]]|date=April 19, 1986|volume=98|issue=16|issn=0006-2510|page=41|url=https://books.google.com/books?id=HSUEAAAAMBAJ&pg=PA43 |title=Billboard 19 April 1986 |access-date=October 9, 2013}}</ref> as well as American rock musicians such as [[Todd Rundgren]].<ref name="guardian_ymo"/>
-In the 1990s, YMO influenced [[ambient house]] pioneers such as [[The Orb]] and [[808 State]],<ref name="dayal_interview"/> as well as [[Ultramarine (band)|Ultramarine]] and other ambient/house artists.<ref name="allmusic_ymo"/> This resulted in the release of the tribute remix album ''Yellow Magic Orchestra: Hi-Tech/No Crime'' in 1993,<ref name="allmusic_ymo"/> by leading [[Ambient music|ambient]], [[House music|house]] and techno musicians at the time, including The Orb, 808 State, and Orbital.<ref>{{allMusic|album|r276109|Hi-Tech/No Crime: Yellow Magic Orchestra Reconstructed|access-date=June 19, 2011}}</ref> The music YMO produced during their comeback in the early 1990s also played an instrumental role in the techno and [[acid house]] movements towards the end of the 20th century.<ref name="UGO"/> The band's use of [[oriental musical scale]]s and video game sounds has continued to be an influence on 21st-century [[electronica]] acts such as [[Dizzee Rascal]], [[Kieran Hebden]],<ref name="guardian_ymo"/> and [[Ikonika]].<ref>{{cite web|last=Lawrence|first=Eddy|title=Ikonika interview: Producer and DJ, Ikonika had an incredible 2010|url=http://www.timeoutdoha.com/nightlife/features/20343-ikonika-interview|work=[[Time Out (company)|Time Out]]|access-date=August 5, 2011|date=January 11, 2011|archive-date=October 11, 2011|archive-url=https://web.archive.org/web/20111011103953/http://www.timeoutdoha.com/nightlife/features/20343-ikonika-interview|url-status=live}}</ref>
+"[[Solid State Survivor|Technopolis]]", a tribute to Tokyo as an electronic mecca that used the term "techno" in its title, foreshadowed concepts that [[Juan Atkins]] and [[Richard Davis (techno artist)|Rick Davis]] would later have with [[Cybotron (American band)|Cybotron]].<ref name="sicko_brewster"/>
 ===Hip hop===
-YMO had a significant influence on the development of early [[hip-hop]] music.<ref name="undermain2" /> The band was popular with the emerging hip hop community, which appreciated the group's new electronic sounds, and in [[the Bronx]] where ''[[Yellow Magic Orchestra (album)|Firecracker]]'' was a success and sampled in the famous ''Death Mix'' by [[Afrika Bambaataa]].<ref name="wire_1996"/><ref name="buckley_2003"/> Bambaataa also cited subsequent YMO albums as well as Sakamoto's 1980 solo track "Riot in Lagos" as influences.<ref name="undermain2" /> Afrika Bambaataa's influential song "[[Planet Rock (song)|Planet Rock]]" was partly inspired by YMO.<ref name="perkins_1996">{{citation|title=Droppin' science: critical essays on rap music and hip hop culture|author=William Eric Perkins|publisher=[[Temple University Press]]|year=1996|isbn=1-56639-362-0|page=12|url=https://books.google.com/books?id=zGC_ZNOrKDwC&pg=PA12}}</ref><ref name="cmj_1999">{{citation|title=Father Afrika Bombaataa|work=[[CMJ New Music Monthly]]|date=December 1999|issue=76|issn=1074-6978|page=72|url=https://books.google.com/books?id=bCoEAAAAMBAJ&pg=PA72}}</ref> The "terse videogame-[[funk]]" sounds of YMO's "Computer Game" would have a strong influence on the emerging [[Electro music|electro]] and hip hop genres.<ref name="dayal_interview"/>
+The band was popular with the emerging [[hip hop]] community, which appreciated the group's new electronic sounds, and in [[the Bronx]] where ''[[Yellow Magic Orchestra (album)|Firecracker]]'' was a success and sampled in the famous ''Death Mix'' by [[Afrika Bambaataa]].<ref name="wire_1996"/><ref name="buckley_2003"/>  Afrika Bambaataa's influential song "[[Planet Rock (song)|Planet Rock]]" was partly inspired by YMO.<ref name="perkins_1996">{{citation|title=Droppin' science: critical essays on rap music and hip hop culture|author=William Eric Perkins|publisher=[[Temple University Press]]|year=1996|isbn=1-56639-362-0|page=12|url=https://books.google.com/books?id=zGC_ZNOrKDwC&pg=PA12}}</ref><ref name="cmj_1999">{{citation|title=Father Afrika Bombaataa|work=[[CMJ New Music Monthly]]|date=December 1999|issue=76|issn=1074-6978|page=72|url=https://books.google.com/books?id=bCoEAAAAMBAJ&pg=PA72}}</ref> The "terse videogame-[[funk]]" sounds of YMO's "Computer Game" would have a strong influence on the emerging [[Electro music|electro]] and hip hop genres.<ref name="dayal_interview"/> Sakamoto's "Riot in Lagos" was cited by [[Kurtis Mantronik]] as a major influence on his early electro hip hop group [[Mantronix]];<ref>{{citation|title=Kurtis Mantronik Interview|work=Hip Hop Storage|date=July 2002|url=http://www.cheebadesign.com/legends/articleX.html|access-date=May 25, 2011|url-status=dead|archive-url=https://web.archive.org/web/20110524234641/http://www.cheebadesign.com/legends/articleX.html|archive-date=May 24, 2011}}</ref> he included both "Computer Game" and "Riot in Lagos" in his compilation album ''[[That's My Beat]]'' (2002) which consists of the songs that influenced his early career.<ref>{{allMusic|album|r607041|That's My Beat: Mantronix}}</ref> The song was also later included in [[Playgroup (band)|Playgroup]]'s [[compilation album]] ''Kings of Electro'' (2007), alongside later electro classics such as [[Hashim Music|Hashim]]'s "Al-Nafyish" (1983).<ref>{{allMusic|album|r2003688|Kings of Electro}}</ref> The 1980 release of "Riot in Lagos" was also listed by ''[[The Guardian]]'' in 2011 as one of the 50 key events in the history of [[dance music]].<ref>{{cite news|last=Vine|first=Richard|title=Ryuichi Sakamoto records Riot In Lagos|url=https://www.theguardian.com/music/2011/jun/15/ryuichi-sakamoto-riot-in-lagos|work=The Guardian|location=UK|date=July 9, 2011|access-date=July 9, 2011|archive-date=June 18, 2011|archive-url=https://web.archive.org/web/20110618211100/http://www.guardian.co.uk/music/2011/jun/15/ryuichi-sakamoto-riot-in-lagos|url-status=live}}</ref>
-YMO as well as Sakamoto's "Riot in Lagos" were cited by [[Kurtis Mantronik]] as major influences on his early electro hip hop group [[Mantronix]];<ref>{{citation|title=Kurtis Mantronik Interview|work=Hip Hop Storage|date=July 2002|url=http://www.cheebadesign.com/legends/articleX.html|access-date=May 25, 2011|url-status=dead|archive-url=https://web.archive.org/web/20110524234641/http://www.cheebadesign.com/legends/articleX.html|archive-date=May 24, 2011}}</ref> he included both "Computer Game" and "Riot in Lagos" in his compilation album ''[[That's My Beat]]'' (2002) which consists of the songs that influenced his early career.<ref>{{allMusic|album|r607041|That's My Beat: Mantronix}}</ref> The song was also later included in [[Playgroup (band)|Playgroup]]'s [[compilation album]] ''Kings of Electro'' (2007), alongside later electro classics such as [[Hashim Music|Hashim]]'s "Al-Nafyish" (1983).<ref>{{allMusic|album|r2003688|Kings of Electro}}</ref> Sakamoto's use of squelching [[Bounce music|bounce]] sounds and mechanical [[Beat (music)|beats]] was incorporated in a number of early American electro and hip hop tracks, such as "[[The Message (Grandmaster Flash and the Furious Five song)|Message II (Survival)]]" by [[Melle Mel]] and [[Duke Bootee]] (1982), "[[Whodini (album)|Magic's Wand]]" (1982) by [[Whodini]] and [[Thomas Dolby]], "Electric Kingdom" (1983) by [[Twilight 22]], and ''[[The Album (Mantronix album)|The Album]]'' (1985) by Mantronix.<ref>{{cite web |last=O'Connell |first=Jake |date=August 22, 2008 |title=Dusted Reviews – Mantronix: The Album (Deluxe Edition) |url=http://www.dustedmagazine.com/reviews/4485 |access-date=July 21, 2011 |work=Dusted Magazine}}</ref>
+YMO's use of [[Video game music|video game sounds]] and [[Beep (sound)|bleeps]] also had a particularly big influence on 1980s hip hop<ref>{{cite book|title=Rap attack 3: African rap to global hip hop, Issue 3|author=David Toop|edition=3rd|publisher=[[Serpent's Tail]]|year=2000|isbn=1-85242-627-6|page=[https://archive.org/details/rapattack3africa0000toop/page/129 129]|url=https://archive.org/details/rapattack3africa0000toop|url-access=registration}}</ref> and pop music.<ref name="sfweekly_interview"/> Beyond electro acts, "[[Yellow Magic Orchestra (album)|Computer Game / Firecracker]]" was also sampled by a number of other later artists, including [[2 Live Crew]]'s "[[Move Somethin' (album)|Mega-Mixx II]]" (1987),<ref name="whosampled">{{cite web|title=Yellow Magic Orchestra|work=whosampled.com|url=http://www.whosampled.com/sampled/Yellow%20Magic%20Orchestra/|access-date=May 28, 2011|archive-date=October 16, 2011|archive-url=https://web.archive.org/web/20111016133429/http://www.whosampled.com/sampled/Yellow%20Magic%20Orchestra/|url-status=live}}</ref> [[De La Soul]]'s "Funky Towel" (for the 1996 film ''[[Joe's Apartment]]''),<ref>{{citation|title=Nothin' Like the Reel Thing: Soundtrack & Film Score News|author=David Sprague|magazine=[[Billboard (magazine)|Billboard]]|date=June 29, 1996|volume=108|issue=26|issn=0006-2510|page=68|url=https://books.google.com/books?id=pgkEAAAAMBAJ&pg=PA68}}</ref> [[Jennifer Lopez]]'s "[[I'm Real (Jennifer Lopez song)|I'm Real]]" (2001), and the original unreleased version of [[Mariah Carey]]'s "[[Loverboy (Mariah Carey song)|Loverboy]]" (2001).<ref name="fox_mariah_jlo">{{cite news|title=Mariah 'Ripped Off' Twice on Same Record|url=https://www.foxnews.com/story/mariah-ripped-off-twice-on-same-record|publisher=[[Fox News Channel|Fox News]]|date=April 4, 2002|access-date=May 28, 2011|archive-url=https://web.archive.org/web/20110906084328/http://www.foxnews.com/story/0,2933,49437,00.html|archive-date=September 6, 2011|url-status=live}}</ref>
-YMO's use of [[Video game music|video game sounds]] and [[Beep (sound)|bleeps]] also had a particularly big influence on 1980s hip hop<ref>{{cite book|title=Rap attack 3: African rap to global hip hop, Issue 3|author=David Toop|edition=3rd|publisher=[[Serpent's Tail]]|year=2000|isbn=1-85242-627-6|page=[https://archive.org/details/rapattack3africa0000toop/page/129 129]|url=https://archive.org/details/rapattack3africa0000toop|url-access=registration}}</ref> and pop music.<ref name="sfweekly_interview" /> Beyond early electro and hip hop acts, "[[Yellow Magic Orchestra (album)|Computer Game / Firecracker]]" was also sampled by a number of other later artists, including [[2 Live Crew]]'s "[[Move Somethin' (album)|Mega-Mixx II]]" (1987),<ref name="whosampled">{{cite web|title=Yellow Magic Orchestra|work=whosampled.com|url=http://www.whosampled.com/sampled/Yellow%20Magic%20Orchestra/|access-date=May 28, 2011|archive-date=October 16, 2011|archive-url=https://web.archive.org/web/20111016133429/http://www.whosampled.com/sampled/Yellow%20Magic%20Orchestra/|url-status=live}}</ref> [[De La Soul]]'s "Funky Towel" (for the 1996 film ''[[Joe's Apartment]]''),<ref>{{citation|title=Nothin' Like the Reel Thing: Soundtrack & Film Score News|author=David Sprague|magazine=[[Billboard (magazine)|Billboard]]|date=June 29, 1996|volume=108|issue=26|issn=0006-2510|page=68|url=https://books.google.com/books?id=pgkEAAAAMBAJ&pg=PA68}}</ref> [[Jennifer Lopez]]'s "[[I'm Real (Jennifer Lopez song)|I'm Real]]" (2001), and the original unreleased version of [[Mariah Carey]]'s "[[Loverboy (Mariah Carey song)|Loverboy]]" (2001).<ref name="fox_mariah_jlo">{{cite news|title=Mariah 'Ripped Off' Twice on Same Record|url=https://www.foxnews.com/story/mariah-ripped-off-twice-on-same-record|publisher=[[Fox News Channel|Fox News]]|date=April 4, 2002|access-date=May 28, 2011|archive-url=https://web.archive.org/web/20110906084328/http://www.foxnews.com/story/0,2933,49437,00.html|archive-date=September 6, 2011|url-status=live}}</ref>
 ===Japan===
-The band has also been very influential in its homeland Japan, where they had become the most popular group during the late 1970s and 1980s.<ref name="guardian_ymo"/> Their albums ''Solid State Survivor'' and ''[[X∞Multiplies]]'' held the top two spots on the [[Oricon]] charts for seven consecutive weeks in 1980, making YMO the only band in Japanese chart history to achieve this feat.<ref name="oricon_ymo"/> Young fans of their music during this period became known as the {{Nihongo|"YMO Generation"|YMO世代|YMO Sedai}}.<ref>{{cite web|url=https://www.apple.com/jp/articles/interviews/sakamotoryuichi/|title=Ryuichi Sakamoto Special Interview|publisher=[[Apple Inc.]]|date=March 19, 2007|language=ja|access-date=January 8, 2009|archive-url=https://web.archive.org/web/20081224053240/http://www.apple.com/jp/articles/interviews/sakamotoryuichi/|archive-date=December 24, 2008|url-status=dead}}</ref> In Japan, YMO sold 4,165,000 albums<ref name="oricon_album_archive2">{{cite web |title=Yellow Magic Orchestra (Albums) |url=http://www7a.biglobe.ne.jp/~yamag/album/al_ymo.html |url-status=dead |archive-url=https://web.archive.org/web/20071111034237/www7a.biglobe.ne.jp/~yamag/album/al_ymo.html |archive-date=2007-11-11 |access-date=June 1, 2011 |website=Yamachan Land |publisher=[[Oricon]] |language=ja}}</ref> and 1,123,000 singles,<ref name="oricon_single_archive2">{{cite web |title=Yellow Magic Orchestra (Singles) |url=http://www7a.biglobe.ne.jp/~yamag/single/ymo.html |archive-url=https://web.archive.org/web/20071016164243/www7a.biglobe.ne.jp/~yamag/single/ymo.html |archive-date=2007-10-16 |access-date=June 1, 2011 |website=Yamachan Land |publisher=[[Oricon]] |language=ja}}</ref> for a total of {{formatnum:{{#expr:<!--albums-->4165000+<!--singles-->1123000}}|}} records sold nationwide.
+The band has also been very influential in its homeland Japan, where they had become the most popular group during the late 1970s and 1980s.<ref name="guardian_ymo"/> Their albums ''Solid State Survivor'' and ''[[X∞Multiplies]]'' held the top two spots on the [[Oricon]] charts for seven consecutive weeks in 1980, making YMO the only band in Japanese chart history to achieve this feat.<ref name="oricon_ymo"/> Young fans of their music during this period became known as the {{Nihongo|"YMO Generation"|YMO世代|YMO Sedai}}.<ref>{{cite web|url=https://www.apple.com/jp/articles/interviews/sakamotoryuichi/|title=Ryuichi Sakamoto Special Interview|publisher=[[Apple Inc.]]|date=March 19, 2007|language=ja|access-date=January 8, 2009|archive-url=https://web.archive.org/web/20081224053240/http://www.apple.com/jp/articles/interviews/sakamotoryuichi/|archive-date=December 24, 2008|url-status=dead}}</ref>
-The band significantly affected Japanese pop music, which started becoming increasingly dominated by electronic and computer music due to YMO's influence.<ref name="loubet_couroux"/> YMO were one of the most important acts in Japan's "[[J-pop#1970s: Development of "new music"|New Music]]" movement and paved the way for the emergence of contemporary [[J-pop]] in the 1980s.<ref name="whonejp">{{cite web|url=http://www.who.ne.jp/modules/page05/content/index.php?id=10|title=New Music|publisher=Who.ne.jp|language=ja|archive-url=https://web.archive.org/web/20090603164729/http://idol.who.ne.jp/modules/page05/content/index.php?id=10|archive-date=June 3, 2009|access-date=June 13, 2011}} ([https://translate.google.com/translate?hl=en&sl=ja&tl=en&u=https://web.archive.org/web/20090603164729/http://idol.who.ne.jp/modules/page05/content/index.php?id=10 Translation] {{Webarchive|url=https://web.archive.org/web/20190420110818/https://translate.google.com/translate?hl=en&sl=ja&tl=en&u=https%3A%2F%2Fweb.archive.org%2Fweb%2F20090603164729%2Fhttp%3A%2F%2Fidol.who.ne.jp%2Fmodules%2Fpage05%2Fcontent%2Findex.php%3Fid%3D10 |date=April 20, 2019 }})</ref> The band also had a significant influence on the development of [[city pop]], with YMO influencing the genre to incorporate electronic instruments and with the YMO members themselves working on various city pop records.<ref name=EssentialFactmag/><ref name="Qobuz">{{cite news |title=When Yellow Magic Orchestra Shaped City Pop |url=https://www.qobuz.com/us-en/magazine/story/2024/10/21/when-yellow-magic-orchestra-shaped-city-pop/ |access-date=5 March 2025 |work=[[Qobuz]] |date=25 October 2024}}</ref>
-They also inspired early [[ambient techno]] artists such as [[Tetsu Inoue]],<ref>{{AllMusic|p182428|Tetsu Inoue|access-date=July 17, 2011}}</ref> and the [[classical music]] composer [[Joe Hisaishi]].<ref>{{cite web|last=Falk|first=Ben|title=Popular Computer's Top 5 Japanese Music Artists|url=http://www.huffingtonpost.co.uk/ben-falk/japanese-music-artists_b_1249754.html|work=[[The Huffington Post]]|access-date=April 28, 2012|date=February 2, 2012|archive-date=June 5, 2013|archive-url=https://web.archive.org/web/20130605141726/http://www.huffingtonpost.co.uk/ben-falk/japanese-music-artists_b_1249754.html|url-status=live}}</ref> The [[manga]] author [[Akira Toriyama]], creator of ''[[Dragon Ball]]'' and ''[[Dr. Slump]]'', cited Yellow Magic Orchestra as his favorite music band in a 1980 interview.<ref>{{cite magazine |title=Mangaka Who's Who - Akira Toriyama |magazine=Pafu |date=September 1980 |url=https://www.kanzenshuu.com/translations/pafu-september-1980-mangaka-whos-who-akira-toriyama/ |access-date=March 3, 2022}}</ref>
+The band significantly affected Japanese pop music, which started becoming increasingly dominated by electronic and computer music due to YMO's influence.<ref name="loubet_couroux"/> YMO were one of the most important acts in Japan's "[[J-pop#1970s: Development of "new music"|New Music]]" movement and paved the way for the emergence of contemporary [[J-pop]] in the 1980s.<ref name="whonejp">{{cite web|url=http://www.who.ne.jp/modules/page05/content/index.php?id=10|title=New Music|publisher=Who.ne.jp|language=ja|archive-url=https://web.archive.org/web/20090603164729/http://idol.who.ne.jp/modules/page05/content/index.php?id=10|archive-date=June 3, 2009|access-date=June 13, 2011}} ([https://translate.google.com/translate?hl=en&sl=ja&tl=en&u=https://web.archive.org/web/20090603164729/http://idol.who.ne.jp/modules/page05/content/index.php?id=10 Translation] {{Webarchive|url=https://web.archive.org/web/20190420110818/https://translate.google.com/translate?hl=en&sl=ja&tl=en&u=https%3A%2F%2Fweb.archive.org%2Fweb%2F20090603164729%2Fhttp%3A%2F%2Fidol.who.ne.jp%2Fmodules%2Fpage05%2Fcontent%2Findex.php%3Fid%3D10 |date=April 20, 2019 }})</ref> They also inspired early [[ambient techno]] artists such as [[Tetsu Inoue]],<ref>{{AllMusic|p182428|Tetsu Inoue|access-date=July 17, 2011}}</ref> and the [[classical music]] composer [[Joe Hisaishi]].<ref>{{cite web|last=Falk|first=Ben|title=Popular Computer's Top 5 Japanese Music Artists|url=http://www.huffingtonpost.co.uk/ben-falk/japanese-music-artists_b_1249754.html|work=[[The Huffington Post]]|access-date=April 28, 2012|date=February 2, 2012|archive-date=June 5, 2013|archive-url=https://web.archive.org/web/20130605141726/http://www.huffingtonpost.co.uk/ben-falk/japanese-music-artists_b_1249754.html|url-status=live}}</ref> The [[manga]] author [[Akira Toriyama]], creator of ''[[Dragon Ball]]'' and ''[[Dr. Slump]]'', cited Yellow Magic Orchestra as his favorite music band in a 1980 interview.<ref>{{cite magazine |title=Mangaka Who's Who - Akira Toriyama |magazine=Pafu |date=September 1980 |url=https://www.kanzenshuu.com/translations/pafu-september-1980-mangaka-whos-who-akira-toriyama/ |access-date=March 3, 2022}}</ref>
 ===Video games===
@@ Line 168: / Line 150: @@
 *''[[Yellow Magic Orchestra (album)|Yellow Magic Orchestra]]'' (1978)
 *''[[Solid State Survivor]]'' (1979)
-*''[[x∞Multiplies|×∞ Multiplies]]'' (also known as ''Zoshoku'', 1980){{refn| group=n| name= Multiplies|Original international versions replace skits with tracks from ''Yellow Magic Orchestra'' and ''Solid State Survivor'', depending on the region.<ref name="Progrography">{{cite web |title=[Review] Yellow Magic Orchestra: X∞Multiplies (1980) |url=https://progrography.com/yellow-magic-orchestra/review-yellow-magic-orchestra-x%E2%88%9Emultiplies-1980/ |website=Progrography |date=February 9, 2021 |access-date=February 26, 2021 |ref=Progrography |archive-date=April 16, 2021 |archive-url=https://web.archive.org/web/20210416131546/https://progrography.com/yellow-magic-orchestra/review-yellow-magic-orchestra-x%E2%88%9Emultiplies-1980/ |url-status=live |last1=Connolly |first1=Dave }}</ref>}}
+*''[[x∞Multiplies|×∞ Multiplies]]'' (also known as ''Zoshoku'', 1980){{refn| group=n| name= Multiplies|Original international versions replace skits with tracks from ''Yellow Magic Orchestra'' and ''Solid State Survivor'', depending on the region.<ref name="Progrography">{{cite web |title=[Review] Yellow Magic Orchestra: X∞Multiplies (1980) |url=https://progrography.com/yellow-magic-orchestra/review-yellow-magic-orchestra-x%E2%88%9Emultiplies-1980/ |website=Progrography |date=February 9, 2021 |access-date=February 26, 2021 |ref=Progrography |archive-date=April 16, 2021 |archive-url=https://web.archive.org/web/20210416131546/https://progrography.com/yellow-magic-orchestra/review-yellow-magic-orchestra-x%E2%88%9Emultiplies-1980/ |url-status=live }}</ref>}}
 *''[[BGM (album)|BGM]]'' (1981)
 *''[[Technodelic]]'' (1981)

Yellow Magic Orchestra: Difference between revisions

Latest revision as of 05:34, 30 October 2025

Contents

History

1976–1978: early years and formation

1978–1983: National and international success

1984–1993: breakup and brief reunion

2002–2023: post-breakup and reformation

2023: Takahashi and Sakamoto's deaths

Musical style and development

Sampling

Instruments

Legacy

Electronic music

Hip hop

Japan

Video games

Members

Official members

Frequent collaborators

Discography

Notes

References

External links

Navigation menu

Yellow Magic Orchestra: Difference between revisions

Latest revision as of 05:34, 30 October 2025

History

1976–1978: early years and formation

1978–1983: National and international success

1984–1993: breakup and brief reunion

2002–2023: post-breakup and reformation

2023: Takahashi and Sakamoto's deaths

Musical style and development

Sampling

Instruments

Legacy

Electronic music

Hip hop

Japan

Video games

Members

Official members

Frequent collaborators

Discography

Notes

References

External links

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