#skintone

[peachcrafts]

Very interesting...

I kind of found this a little funny. Make of it what you will.

[dustedmagazine]

Susumu Yokota — Will (Skintone Records/Lo Recordings)

[To see Dusted’s previous reviews of the albums in this reissue series, see here.]

Because the Skintone Edition boxed sets collecting all the individual reissues of Susumu Yokota’s LPs only focus on music he released under his own name, up to this point in the collection Yokota’s work in more “functional” dance music like house has more been an element referred to or reacted against by his music than actually present. That changes with 2001’s Will, individually released last December. It’s interesting to note that it was originally issued the same year as his much more esoteric Grinning Cat, because the two records do share one key element: a joyful sense of playfulness.

Here that playfulness is apparent as soon as the deep, sometimes jazzy house grooves of “Level 21” and “Pegasus Man” begin Will. The latter especially makes for a more bumping companion to the then-recent smash hit St. Germain LP Tourist, but things here quickly get a little more varied than that. “Alpine Nation” spikes the BPM and reminds listeners of how good Yokota makes his samples and loops sound, always giving them a kind of lush, surreal reality (and is that little vocal fillip a bit from the Flamingos’ “I Only Have Eyes For You” years before The Field got there?). Yokota doesn’t shy away from keeping a break dusty or another element lo-fi if it suits the mood of the track, but even then, his work feels like it’s in audio Technicolor.

After four tracks of more upbeat, overtly danceable tracks, Will downshifts in an intriguing way. First “Illusion River” shuffles along with late-night piano twinkles and haunting, indistinct vocals, then “Black Sea” somehow builds an incredibly compelling slow burn out of little more than a drum loop, reverbed snapping fingers, and far-away organ washes. You wouldn’t cut a rug to it like you would to “Level 21,” but it’s a nigh-irresistible head nodder. But it’s also a headfake, with the album ending with two of its more intensely danceable cuts before ushering you out the door with the patient, gentle churn of “Flower and Butterfly.” Will was apparently designed as an homage to Yokota’s DJ nights in Tokyo, and it has the variety and flow to show for it. On this evidence, the fact that we can’t go see Yokota on the decks anymore is just one more thing to mourn.

Ian Mathers

[dustedmagazine]

Susumu Yokota — Grinning Cat (Skintone Records/Lo Recordings)

[To see Dusted's previous reviews of the albums in this reissue series, see here.]

By 2001, Susumu Yokota had proved that eclecticism would do nothing to dilute the quality of his prolific recorded output. 2001’s Grinning Cat was a more experimental outing than his 1999 release Sakura, and throughout this time Yokota was also working on dance/house recordings. Grinning Cat thwarted any expectations of a release following up one of those trends, carving out still another niche for Yokota to occupy. Still, it couldn’t have been made without a great deal of knowledge of how to create both ambient and danceable electronica.

Grinning Cat has some stretches that are propelled by beats, albeit frequently off-kilter ones.  Yokota marshals a mélange of sampled sounds that weave in and out of the texture, sometimes serving to subvert rather than compliment the underlying rhythms. A case in point is the use of a live snare snippet in “Flying Cat,” which appears only for part of a piece that leads with a bed of strings and also has piano and organ cells dropped in. “Tears of a Poet” introduces whispered speech and a stilted and sepia dated piano to complement belated gamelan and a string pad. String samples appear elsewhere too, and throbbing chords and scritching slides are part of the urban soundscape on “Flying Cat.”

On “King Dragonfly,” ritualistic chanting and hand claps are looped alongside trap beats and oscillating synths. “Cherry Blossom” employs loops as well, with an inexorable piano riff and oscillating chimes offset by a crisp ostinato. “Sleepy Eye” juxtaposes distressed piano samples into a minimalist patchwork. “Balloon Cage” does similarly, but with tinny brass snippets. Partway through, thrumming drums and a pulsating piano complicate the texture.

“Lost Child” concludes the record, with spoken word and pensive keyboards presented in spatial panning to underscore the piece’s wayward concept. In a neat swerve, a new riff in a different meter, lilting instead of pressing, creates push and pull between the various layers. Grinning Cat is one of Yokota’s more adventurous outings, and its panoply of sonic materials underscores the breadth of his musical pursuits.

Christian Carey

[dustedmagazine]

Susumu Yokota — Sakura (Skintone Records/Lo Recordings)

When Sakura originally arrived at the turn of the millennium, critics hailed it as the culmination of Susumu Yokota’s new sonic direction, his embrace of ambient sound married to the faint echo of dance floor rhythms. Hindsight, predicated by Lo Recordings’ reissuing of his Skintone records, reveals the album to be a huge step along the circuitous path that Yokota was carving at the time. Beginning with Magic Thread (see Tim Clarke’s review of the reissue here) and continuing with the reflective Image 1983-1998 (see Ian Mathers' review of the reissue here), Yokota chased old and new influences like they were petals blown from a cherry blossom. Sakura is but one branch of this tree, and it sprouted many buds; each tendril shot off in a different direction but retained the spirit of its source. Holding the album up independently from its surroundings, it’s a breathtaking example of an artist traversing unexplored territory with a confident footing.

Sakura showcases the eclecticism of Yokota’s many influences. A long-time dancefloor maven, he was enamored with not just ambient sounds but American minimalism, spartan post-punk, ECM jazz, folk music, and fusion. This remaster by fan and collaborator Mark Beazley emphasizes the weightlessness of the music and its warm textures while maintaining its sense of exploratory wonder. Yokota’s pulsating synth and guitar work coalesces into a pillow on which the samples relax and revel. The hand drums and baritone dialogue on “Uchu Tanjyo” live in the foreground, an ethnographic field recording sourced from another planet that slides along snaky flute foliage. “Naminote” pairs shuffling drums with gently rolling piano and vibraphone waves (courtesy of Chick Corea and Gary Burton), anticipating the jazz-and-folk-infused electronics of Caribou and Four Tet. Even the most dancefloor friendly track “Genshi” casts its four-on-the-floor beat into a misty sea of bass drone and soothing strings. Yokota didn’t want to go full-on ethereal on Sakura; he allowed his tracks to be aerodynamic like colorful kites, and Beazley highlights this.  

Yokota’s later Skintone albums flirted further with experimental textures. Sakura, with its liberal use of Harold Budd, Young Marble Giants, and Steve Reich samples, is the most nuanced of the bunch. It balances lush but airy tones against austere beats, chasing a new direction in ambient music. Yokota built a bridge between the acoustic and electronic realms, and this hybrid sound has continued to resonate in the twenty-five years since it arrived. Even as Yokota continued to tread unfamiliar territory and create brilliant works of art, it’s his delicate Sakura that made the biggest impact. 

Bryon Hayes

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[deathelegy]

i have seen beautiful people (physical beauty) glorifying their physical attributes every now and then, boasting about their skin color or type or their curves or muscles but when it comes to actually bringing something to a conversation, something deeper than what normal human beings tend to dive while conversing. their real shallowness is revealed. you can clearly see they don't have much to offer. they can't talk about soul or feelings or anything that requires a bit of intellectualism. their shallowness is the filter through which you can see they are only meant to entertain you with their body but not with their brain.

[dustedmagazine]

Susumu Yokota — Magic Thread (Skintone Records/Lo Recordings)

To commemorate the 10th anniversary of the death of Japanese artist Susumu Yokota and the 30th anniversary of Lo Recordings, the label has embarked on an ambitious and extensive reissue campaign of 14 of Yokota’s albums released between 1998 and 2012. Magic Thread, originally released on CD way back in 1998, is the first installment in the series, with four further albums coming this year, and another nine next year, all freshly remastered and pressed onto vinyl.

Yokota produced music that spanned multiple overlapping genres, including ambient, electronica and house, and Magic Thread is Yokota at his most stark and minimal. Each of the 11 tracks is built from just a handful of ingredients — sparse snatches of piano melody, vinyl crackle, a kick-drum pulse — that’s allowed to unfurl gradually in the vein of other artists such as Pole, Gas or The Sight Below. Listening to this music feels akin to peering into a pot of stock on the hob, Yokota gradually seasoning the mix as it simmers away. Most of the tracks stretch out to five or six minutes, giving Yokota ample time and space to wring the most out of his minimal ingredients before he moves on to the next idea.

The themes of circularity and connectivity run throughout the tracks, with titles including “Weave,” “Unravel,” “Circular,” and “Spool.” As the elements in each track loop round and round, the imagery that immediately springs to mind is of watching a reel-to-reel tape recording spinning, or a record on a turntable. Yokota had an uncanny knack of knowing when to allow tracks to evolve, and there’s a lot of weight placed on the importance of the juxtaposition between ominous, melancholy tones, and fleet-flooted, hopeful refrains.

Even though the next instalment in the series, Image 1983-1998, takes us back to the era immediately preceding this release, Magic Thread is a natural starting point to explore Yokota’s wondrous catalog. It feels foundational to a lot of what comes after, but is also a satisfying and hypnotic experience in its own right.

Tim Clarke

[llavendelcc]

[Lavender0c0] Lavender Skin 1.5 | RECOVERED TS3 CC | Original Source

Modified Parts *translated from korean via translator

Removed separate versions (e.g., East Asian, tan versions)

Adjusted color tones. Recolored the dark areas (previously had a yellowish tint near the end of the slider) to appear more pale

Updated skin slot image. Replaced the slot preview image to make it easier to distinguish due to similar colors

Reduced file size. Optimized the file to reduce loading time caused by the large original size

Young Adult to Adult (Male/Female) – yf / ym – af / am

credit: Ephemera, S-Club

Unfortunately, it's hard to say whether all the files from the original post are included. Currently available versions listed below. More pictures under the cut.

Download Lavender Skin 1.5 by Lavender0c0 🌿 RECOVERED LINK 🌿

Lavender Skin 1.5 Female (HQ)

SFS | Mediafire

Lavender Skin 1.5 Female Eyebag (HQ and No HQ)

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Lavender Skin 1.5 Male Asian (HQ and No HQ)

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