The genesis of Satoshi Fumi’s musical career was when he discovered house music in the mid-nineties. It was the house music coming out of Detroit, Chicago and New York that first interested Satoshi. Having discovered dance music, Satoshi embarked upon a life long love of dance music, which lead to a career as a DJ and producer. He started collecting synthesizers and building a home studio. From there, he began making his own music, experimenting with sounds a variety of musical genres. Over time, Satoshi developed his own unique and unmistakable sound, fusing various genres, from techno, Acid House, click, tech house and deep house. Since then, Satoshi Fumi hs become a prolific producer, releasing his debut album Sweet Sensation in 2008. Now four years later, Satoshi Fumi will soon be releasing his second album Colours on pioneering Japanese label Fountain Music on 26th July 2012. However, before I tell you about the music on Colours, I’ll tell you about Satoshi Fumi’s career so far.
Once Satoshi Fumi had built his own studio, he set about experimenting, fusing various genres of electronic music. Into Satoshi’s melting pot went everything from techno, Acid House, click, tech house and deep house. Soon the fruits of labor would pay off. His nascent production career got a big break in 2002 when Washington DC’s dance duo Deep Dish discovered Satoshi Fumi’s track Protlex. Deep Dish released Protlex on their own label Yoshitoshi Records, albeit under the name Satoshi Fume. Later in 2002, Satoshi’s track The Dub Beatlex featured on Desyn Masiello’s Symphonic compilation for DJ Magazine and on Phil K’s Balance 004. 2002 proved to be a big year for Satoshi Fumi. His career was up and running, less than ten years after discovering house music and he’d soon become a prolific producer.
Since then, Satoshi Fumi has released a number of EP, twelve-inch singles and has contributed tracks to a number of compilations. This has included a quartet of EPs. Madness and Thereness EP was released in 2005, with the Treasure EP released in 2006 and his Pod EP following in 2007. The same year, Satoshi and Osamu M. collaborated on an EP entitled Reminiscence. Throughout this period, Satoshi was releasing twelve-inch singles on various labels. A year later, Satoshi Fumi would release his debut album, Sweet Sensation.
Just six years since Deep Dish discovered Satoshi’s track Protlex, Satoshi Fumi would release his debut album Sweet Sensation. Sweet Sensation was released on the Greek label Klik in 2008. It featured nine tracks, where Satoshi combined deep house and tech house. With his debut album Sweet Sensation released, it wouldn’t be long before Satoshi Fumi released another album, this time a collaboration with Osamu M.
Two years after Satoshi Funi and Osamu M collaborated on their Reminiscence EP, they’d release an album. This was Outerspace, release in June 2009, ten tracks of house music, ranging from minimal to tech house. Having released two albums in the space of two years, it would be another three years before Satoshi Fumi would release another album.
Now four years after the release of Sweet Sensation, Satoshi Fumi’s second solo album Colours will sound be released on Fountain Music. Colours feature eleven tracks where fusing various genres, from techno, Acid House, click, tech house and deep house. These tracks are variously sensual, melodic, dramatic bold wistful, melancholy and beautiful, as you’ll see when I tell you about the music on Colours.
Colours opens with Applism, where marauding pounding beats and percussion combine before stabs of dark, dramatic synths enter. You get the sense that Satoshi is toying with you, building up the tension and drama. This proves to be the case, when melodic synths and rhythm patterns unfold. By now there’s a real teach house sound developing. Layers of synths and drums create a sound that’s almost hypnotic, but hugely catchy. Later, addition of squelchy Acid House synths sees Satoshi pay homage to the early days of house, as he continues to mesmerize with his creativity and inventiveness, using each of the Colours in his musical palette.
Beautiful Life sees Satoshi combine darkness and light, while fusing a variety of musical genres. During the track, you hear elements of tech house, techno and even an ambient sound, provided by the airy synths. As the track opens, there’s a darkness which gradually recedes. Pounding drums reverberate, before Satoshi introduces another set of drums that give the track a techno sound and feel. Then when Satoshi introduces light, melodic synths, they add a bright, joyous sound. Having discovered this synth sound, Satoshi wisely exploits it fully. Along with galloping beats, percussion and stabs of keyboards, the result is a track where darkness and light meets and melts, as Satoshi mixes elements of tech house, techno and ambient music.
Fuji has a very different sound to the previous two tracks. From the opening beats, you hear a different side to Satoshi, one that’s really soulful and sensuous. While the drums sound different, it’s the introduction of retro, ambient sounding synths that give the track a very different sound. Then when a sensuous sounding saxophone enters, the track takes on a soulful house sound. This results in something you’d expect to hear on a Naked Music compilation. Truly, it’s absolutely irresistible. Not only is Fuji soulful and sensual, but it’s blessed with a real summery, feel-good sound.
Light and Breez sees the reintroduction of the ambient sounding synths. They meander elegantly along, their glacial sound unfolding in waves. The introduction of pounding drums, hissing hi-hats and percussion adds a new dimension. It sees the track head in the direction of ambient house. Dreamy synths are combined with stabs of a piano that’s influenced by Italian piano house. Meanwhile, drums drive the track along. By now, you’re spellbound, by the ethereal sound of the track. Things get even better when the drums are dropped out. Subtle swathes of synths and a crystalline piano combine during a breakdown, as Satoshi builds the beautiful, arrangement back up, resulting in one of the best Colours on the album.
Metropolitan is a track with more than a few surprises in store for the listener. When the track opens, it’s with crunchy drumbeats and percussion combining, before a prolonged stab of synths is added. So far, no surprises have been sprung by Satoshi, with the sound more deep than tech house. It’s only when an acoustic guitar is added while wave upon wave of synths unfold, that you realize something is happening. Then as a piano is added to the guitar that the track takes on a jazzy house sound. As jazzy house and deep house combine the result is melodic, elegant and quite beautiful.
It’s just keyboards that you hear when Myth You unveils its wistful sound. Drums provide a gentle heartbeat, while lush strings add to the track’s melancholy beauty. You lose yourself in the track, allowing it to tug at your heartstrings and toy with your emotions. Wistful, melancholy and bewitching, this track is all this and much, much more.
After the wistfulness of Myth You, Nacht Musique is the polar opposite of the previous track. Thunderous drums, flourishes of dramatic keyboards and swathes of synths power the track along, like a journey on an express train. Adding a contrast to the boldness and power are tinkling, melodic keyboards. Hissing hi-hats join the mix, as this explosive track powers along, trailing drama in its midst. By the end of the journey, you’re spent, exhausted, by the sheer thunderous power and drama of the music.
Not only is the drum sound on each of the tracks on Colours different, but Satoshi introduces something imaginative and inventive during each track. Pizzi Katze is no different. It’s a track made up of layers of contrasting sounds. Drums pound and crack, before swathes of haunting, fragile synths offer a contrast. They meander along, their ambient sound providing a contrast to the boldness of drums. Occasional bursts of percussion, stabs of piano and the lushest of strings add further contrasts, as Satoshi combines elements of Italian piano house, jazzy house and deep house seamlessly. In doing so, he demonstrate’s just how imaginative, inventive and innovative a producer he truly is.
Thundering drums boom, testing the tolerance of your speakers as Signal gets underway. Stabs of synths and percussion are added, as one of the boldest sounding tracks on Colours unfolds. The combination of the beats and synths are hypnotic. Later, squelchy Acid House synths are unleashed, as Satoshi pays homage to the pioneers of house. Although this isn’t Acid House, it’s a Tech House Magnus Opus, one that’s bold, dramatic and thunderous.
Closing Colours is Su My Lee, a track that’s broody and moody from the get-go. There’s a dramatic undertone, with drums, dark piano and the saddest of strings combining. Here, classical strings are mixed with slow, spacey drums that have a real retro sound. These drums are like something an early drum machine would produce. They’re really effective though, adding to emotive sound. Then Satoshi moves from broody and moody to wistful and melancholy seamlessly, adding an elegant, but pensive piano solo. This results in pensive, ambient soundscape, that’s although moody and broody, is wistful, melancholy and bewitching.
Although there’s been a gap of four years between Satoshi Fumi’s debut album Sweet Sensation and the followup Colours, it’s been well worth the wait. The eleven tracks prove just how imaginative, inventive and innovative a producer Satoshi Fumi truly is. On Colours, the latest release from pioneering Japanese label Fountain Music, Satoshi journeys through a variety of musical genres, including Acid House, ambient music and deep house, before visiting jazzy house tech house and techno. It’s a compelling musical journey, with each track blessed with its own unique sound. This ranges from bold and dramatic, moody and broody, right through light and melodic and even encompassing wistful, melancholy and beautiful. That’s how wide the range of Colours in Satoshi Fumi’s musical palette is. Satoshi uses his musical palette well, creating an accomplished musical canvas, where layers of sounds are merged majestically, resulting in one of the most inventive, innovative and imaginative house albums I’ve heard for a long time. Standout Tracks: Light and Breez, Metropolitan, Myth You and Su My Lee.