Akira Kosemura hails from Japan, and like so many other Japanese artists, he’s largely unknown in the musical world. Released early this summer, It’s on Everything, Kosemura’s first solo effort, reveals a hidden gem to the listener. Prior to this release, I'm hard pressed to think of many notable minimalist releases from 2007, but thankfully Kosemura's debut begins to turn the tides in our favor. It’s on Everything is a beautifully enchanting mix of both delicate piano work and fragile electronic hooks, one which will surely turn many enthusiasts onto his soulful music.

What really makes this effort standout is that it doesn’t overexert itself;  Kosemura understands what he is good at and gives the listener just that, maximizing the audience's enjoyment without falling prey to overly ambitious compositions. This is not to say that the album gets boring; in fact, even after basically overplaying It's on Everything, each listen provides some new, previously unnoticed nuance which heightens the overall experience. “Orgel” is the first glimpse of Akira’s work, leading off the track with a simple piano verse and a serene combination of ambient sounds coupled with soothing drones. This track is nothing crazy with its bare bones approach, but Kosemura makes every note count and is able to convey countless emotions with every single key stroke. “Unknown,” the second track, features more of the same piano and electronic combination, but uses it in a different way, as the track seems to figure itself out during its duration. The track goes on a journey from a slow and soothing to a bit more sped up while not losing the semblance of the overall track. Well composed and cohesive, it's a winner.

One could go on forever describing how each drone, strike of the piano keys, and electronic backdrop are placed with remarkable precision, but all this banter would not do It's on Everything justice as each song is meant to convey different feelings in each of us. Kosemura understands the subjectivity in the listening experience, and creates a musical experience which not only can be incorporated into various  moods and settings, but should also find large appeal in a broad audience. One track truly worth looking into is the title track. It’s one of two upbeat tracks on the effort, and coupled with its nimble beat, loops, and hooks, all of which make it a standout track, it demonstrates that Kosemura is capable of producing more then just piano driven tracks. There's a whole new world out there for this budding artist to explore, all in due time.

While It’s on Everything is only Kosemura’s first release it seems as though he already is a seasoned veteran of the minimalist movement. For a debut CD, it’s remarkable how addicting this album truly is and how the album does not change the listener's mood, but instead morphs itself to fit that mood. Our hats go off to a young composer, who, with just his first full release, is showing a great deal of potential.

-Erich Meister