An’archives is proud to present [sensitive], a new album, and the first solo vinyl release, by Japanese keyboardist and synth player, Mitsuhisa Sakaguchi. A deftly assembled suite of glistening electronic tonalities, [sensitive] is the latest in a lengthy run of excellent, idiosyncratic albums by Sakaguchi. A low-key yet productive artist, Sakaguchi has released banks of solo titles via his own Bandcamp page, and is also an in-demand improvisor for electronics: see, for example, recent collaborations with Yoshiki Ichihara (TO(R)RI INFRANTA, Ftarri, 2025), Tatsuhisa Yamamoto (non equal mad, self-released, 2020), and the [-] trio with Yamamoto and Uchihashi Kazuhisa (self-titled, Modern Obscure, 2023). [sensitive] is a startling album for many reasons, not least its rich attention to detail. Sakaguchi’s ear is sensitized to the complexity of electronic sonority, something he’s developed through decades of performance and improvisation, though he’s not limited to that language. “I mainly use multiple synthesizers and process the sounds with effects,” he clarifies, detailing his approach to his music. “I also use a lot of acoustic sounds such as field recordings and percussion; sometimes I also use sounds such as prepared piano.” Indeed, you can hear this see-sawing balance between the electronic and acoustic written across [sensitive] – see the activated cymbals that twist and stutter through the first half of “metatoxic”, which are soon replaced by a similar stream of burbling synth-flow. The opening “sensitive rot” folds field recordings into Sakaguchi’s electronic kit to such a degree that the differing forms dissolve into each other; on “green shrine”, the field recordings are more present, yet still poetically framed, taken as they are “from the mountains of my hometown, Yawata City, Kyoto,” Sakaguchi explains. The tender balance achieved by Sakaguchi as he moves between practices, tonalities and temporalities helps manifest the guiding conceptual force behind [sensitive], where Sakaguchi explores a cleansing reverie. “What I wanted to portray with this album was to create an album of sounds that shattered and reassembled my current ‘sense’ and ‘toxins’,” he nods, “along with the ‘nature’ around me. Electronic sounds, our bodies, the environment around us, and nature all blend.” From there, Sakaguchi attempts a transformation, or transmutation – an alchemical process of exchange. “I am attempting to explore whether it might be possible for the sounds to come closer to each other,” he concludes, “or perhaps even to interchange places.” On the five pieces that comprise [sensitive], you can hear this fusing and exchange. Inhabiting similar spaces as the music of Nuno Canavarro, Asmus Tietchens, Omit, and other like-minded visionaries, [sensitive] traverses curious, quixotic terrain between electronic composition, electro-acoustics, and improvisation.
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