MASAYOSHI FUJITA Releases ‘Portal to the Universe’ – From Expo 2025’s Living Nature Installation

Japanese Composer Announces New Album ‘Forest of Tranquility’ Growing from Osaka Commission

OSAKA/LONDON – Japanese composer and vibraphone artist Masayoshi Fujita releases “Portal to the Universe”, out 15th September 2026, the first single from his new album ‘Forest of Tranquility’ (13th November 2026, Erased Tapes). The album grows from an honourable commission: Fujita created the soundtrack for Expo 2025’s vast living nature installation in Osaka—a six-month landmark event visited by millions.

Expo 2025’s central installation featured 1,500 real trees (rescued and repurposed from the Expo’s former ’70s site and Osaka parks), a central pond, and an open-air sanctuary designed for visitors to tune out noise and restore energy. Fujita envisioned music that deepened connection to nature’s ebbs and flows through dynamic shifts and gentle arcs—creating a living tapestry mirroring the surrounding forest.

For the installation, Fujita created weather-reactive compositions using sensor systems: three versions of each two-hour piece (sunny, cloudy, rainy) with textures modified by climate and frog calls representing rain.

“This song was made as the last song of a day,” Fujita explains. “It feels like you are slowly drifting in the vast universe and the sea of memory.”

The track builds immersive sound journeys from cicadas, chimes, woodwinds, and distant children’s chatter—coaxing the brain into believing relaxation is attainable.

Like kankyō ongaku pioneers Hiroshi Yoshimura, Midori Takada, and Haruomi Hosono before him, Fujita makes gentle, mind-massaging music intended to blend harmoniously with its environment. For at-home listeners, the album functions as a serene transportive pod—capable of taking you anywhere.

Organic resonance of acoustic instruments—marimba, vibraphone, percussion, Armenian duduk (Hayk Karoyi), Japanese shō (Mattias Hållsten)—showcase nature’s design. Field recordings of birds and frogs, atmospheric drones, and white noise evoking wind through mountains carve out roomy soundworld for reflective thought.

“I wanted to have a lot of space in between the sounds,” says Fujita.

After 13 years in Berlin, Fujita relocated to rural Japan in 2020 to make music in nature. He now lives with family high in a mountain village (Kami-cho, Hyōgo, three hours west of Kyoto), surrounded by water and occasional bears, working from a former kindergarten.

‘Forest of Tranquility’ blooms across seven long-form trails, each shifting subtly by time of day:

Out of 15M total streams, Japan ranks #3 territory, with growing audiences across Asia:

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