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Never was Yellow Magic Orchestra's synergy of fizzing energy, memorable songwriting and capacity for breaking new ground stronger than on Solid State Survivor. They were a set of distinct individuals, logging fantastic solo records of jazz fusion, folk, proto-electro, classical and abstract glitch before, during and after the main project was a wrap. By contrast, Hosono, Sakamoto and Takahashi operated in a traditional band mode. Their component members are depersonalised and to an extent interchangeable, as is the nature of the concept. Kraftwerk, so long considered unknowable, have been exporting their brand of techno-pop more or less non-stop for the past 15 years, variously taking their workstation roadshow across South America in support of Radiohead, to the Guggenheim Bilbao and the Sydney Opera House, and even to a Cocoon party in Ibiza last week. But the differences underscore the scarcity of last year's impromptu reunion, and YMO's appeal. Nor was there any beef-both the band and Hosono have integrated a cover of "Radioactivity" into live performances since the 2011 Fukushima meltdown. Being placed in the top-tier bracket of electronic innovators alongside the robotic Germans is a flattering fit. It's not as if the comparison dogged YMO. It's important to get Kraftwerk out of the way early. Their skill at feeding state-of-the-art technology into world-beating tunes led to a high strike rate matched only by Kraftwerk. The group lasted for just over five years, but recorded seven studio albums in that time, leaving a permanent mark on a wide panorama of popular and niche musical subcultures. Seven months and a small tweak later, their eponymous debut was released.
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"Absolute Ego Dance"'s marriage of rock & roll vim, arcade bleeps and the then-unmined potential of synth pop is a shining example of why Yellow Magic Orchestra (YMO) generate such adoration. It is only their second appearance on stage together in the UK since 1980. This is the first time that Sakamoto, Takahashi and Hosono-Yellow Magic Orchestra-have performed in seven years. The song, recognisable now as a galloping rendition of "Absolute Ego Dance," is all but drowned out by cheering, which extends well past lights up. As the on-stage ensemble, including Takahashi on drums and Hosono on acoustic guitar, trundle their way through a vaguely familiar tune, suddenly a grinning Ryuichi Sakamoto appears and takes over on keyboard. Haroumi Hosono is rounding off a set of country and lounge music, when he calls for his "good friend" Yukihiro Takahashi to join from the back of the hall.