The album is a brilliant incarnation of his musical philosophy: the pairing of two or three repetitive, complimentary wisps of music, usually a brief but vivid melody over a murmuring chord, the space between the notes just as pronounced as the notes. 1983’s Pier & Loft was composed for a Tokyo fashion exhibition and is the most “upbeat” Yoshimura would ever get. A・I・R (Air in Resort), released in 1984, was commissioned by a Japanese cosmetics company and given away with a forest-themed perfume (the green LP sleeve was sealed, the scent released when opened). Both Green, generally considered his masterpiece, and Soundscape 1: Surround, which I would argue is just as good, if not better, came out in 1986. The latter was produced by Misawa Home, a top competitor in the prefabricated housing market, and meant to be played by the owners in their new, decidedly modern, homes. Again, Yoshimura was attempting to use music as any other design element at work within the space, be it layout or decor or color or lighting.
Yoshimura’s first LP, Music for Nine Postcards (1982), consists of nine tracks designed to be played in specific locations within the Hara Museum of Contemporary Art (converted in 1979 from a private mansion).