INTER Tokyo ft. Techno Legend Ken Ishii
This edition features top talents from Japan and abroad, headlined by the legendary KEN ISHII—'Techno God of the East.'
Known for his groundbreaking debut on R&S Records, MTV award-winning MV 'Extra,' and iconic sets at Tomorrowland and Boiler Room, Ken continues to shape the global techno scene.
1F brings high-impact hard techno with internationally acclaimed DJ KOSUKE.
On 2F, JUN INAGAWA, Shannon Brothers, and TARO TOKO take the stage.
4F features Afro and Tech House grooves led by SATICA.
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Japan Times
6 days ago
- Japan Times
How Japan made techno its own
Last weekend, on a stretch of green between Fukushima's Bandai and Adatara mountains, techno heads sweated and thrashed under a clear summer sky. They had gathered from as far as India and Guam for rural, a three-day electronic music festival, and a chance to experience Japan's unique techno culture. Why? Because Japan's club scene is a universe of its own. Since the 1990s, Japanese artists have pushed the boundaries of electronic music in relative isolation, cultivating a distinct aesthetic that merges futuristic sound design with deep cultural roots. According to Naoko Hisatsune, co-organizer and resident DJ at rural, the foundation of Japan's techno roots go back to Yellow Magic Orchestra (YMO), an electronic band formed in 1978 by now-legendary artists Haruomi Hosono, Yukihiro Takahashi and Ryuichi Sakamoto. 'YMO expanded the possibilities of electronic music and influenced the foundation of Japan's techno culture,' Hisatsune says. 'In the '80s and '90s, there was simply no way around them.' Around that time, artists such as DJ Shufflemaster, Fumiya Tanaka and Ken Ishii were among the first to cultivate Japan's techno scene, with Tokyo as its epicenter. Wata Igarashi, now a globally touring DJ and producer himself, frequented a club called Maniac Love, where many of these artists hosted their own nights. They also booked top international acts from cities with more established techno scenes such as Berlin and Detroit. Ken Ishii was a major figure in the creation of Japan's techno scene. 'The music I heard there was so futuristic, loopy and psychedelic — it struck a chord with me instantly,' Igarashi says. One of Maniac Love's regular nights, Sublime, led to the creation of a record label of the same name in 1994. Over the next decade, Sublime helped launch the careers of Japanese producers like Ishii, Susumu Yokota and Rei Harakami. That weekly event inspired a record label of the same name, launched in 1994. 'Sublime aimed to be Japan's first international techno imprint — and it succeeded,' Ishii says. 'For artists like me, embracing futurism and technology was key. It set us apart from overseas productions.' Hypnotic, experimental and nature-infused Japan's electronic music scene has long thrived on a 'less-is-more' philosophy — restrained, hypnotic and deeply textured. This restraint distinguishes the country's sound from the rest of the world. In comparison, Detroit is known for its raw production techniques and dramatic chord lines, while the Berlin sound traditionally explored the more monotone and edgier flavors of techno. Igarashi relates the Japanese ethos to the widespread phenomenon of 'ma,' or the concept of negative space in art. 'It's the void between things that matters to us — and that goes for techno music, too,' he says. 'It's not about putting in as many elements as possible, but it's about the space in between the notes that makes techno complete here.' Hisatsune agrees. 'Japanese techno blends delicate sensibilities with experimentation,' he says. 'The sound leans inward, reflecting our island mentality. That's why psychedelic, immersive music feels so natural here.' Notable examples of artists that adhere to this idea include DJ Yazi, Shinichi Atobe and Takaaki Itoh. Producer and DJ Wata Igarashi attributes Japanese techno's uniqueness to a cultural concept called "ma." Igarashi also attributes this mentality to Japan's connection with nature. 'There's an appreciation for life's deeper aspects that's uniquely Japanese,' he says. 'Respect for nature is part of that ethos. Many traditional outdoor festivals blend electronic music with natural settings, creating something transcendent. In these outdoor settings, deep and subtle techno music just works perfectly. Dancing to hypnotic sounds in a forest is pure magic.' According to Ishii, Japanese artists also obsess more over details. 'It's simply in our nature,' he says. 'That precision carries into the music we make.' For Yu Asaeda, better known as the DJ and producer Ena, experimentation is another hallmark of Japanese techno. 'Techno has always been more than four-to-the-floor rhythms; it's any dance music that leverages technology creatively. Innovation defines it,' he says. 'In Japan, scenes like noise, drum and bass, and techno overlap heavily. That cross-pollination breeds innovation, and fans are more open to experimentation — even on the dance floor. I really love that.' The future looks bright — and deep What's next for Japanese techno? While techno is still considered an underground phenomenon, its popular appeal in more recent times has changed its image. Events like Future Terror (DJ Nobu's irregularly held party, spanning venues in and outside Japan) draw devoted crowds. Meanwhile, outdoor festivals like Labyrinth, Moment and rural spotlight cutting-edge electronic music from Japan and beyond. Yet, the meaning and value of techno hasn't changed much for scene veterans like Hisatsune, who has been organizing rural alongside Atsushi Maeda, Yukiko Matsuo and Ami Tsunoda since 2009. 'For me, techno is more than just music,' he says. 'It's something that opens up new ways of thinking and feeling, outside of established values or societal frameworks. It carries an intellectual and futuristic quality, with a kind of psychedelic immersion that allows me to explore my inner world and senses more deeply.' Many Japanese DJs don't head outside of the country too often, which allows them to formulate ideas relatively free of outside influences. | YUMIYA SAIKI For Igarashi, techno is a cathartic journey. 'When done right, it's about losing yourself — escaping everyday problems,' he says. 'It can be emotional or euphoric. With my music, I want others to feel that too.' Igarashi sees lots of talent across a new generation of DJs. 'Most Japanese don't head out of the country much, so a lot of DJs only play in Japan and don't get influenced by others, which results in very significant musical styles,' he says. 'I'm thinking of artists such as DJ Maria., Haruka and Occa. Lots of the music they play comes from overseas. But it's the way they piece these tracks together that makes it special. It's always deep.' Asaeda sees more positive indicators about the current Japanese techno scene, too. 'At a recent Tokyo gig, the crowd was mostly in their early 20s, yet they embraced my experimental sound,' he says. 'That open-mindedness to experience music beyond your comfort zone is a healthy approach — and it's a good sign for the music scene here in Japan.'
SoraNews24
20-07-2025
- SoraNews24
We found a literal hole in the wall in Tokyo for great coffee at amazing prices
We'd have fallen in love with this Harajuku spot even if they didn't give you free dessert (but they do). Harajuku is one of the most fashionable neighborhoods in Tokyo, and also one of the most fashionable in Japan, for that matter. Clothing stores are the first thing that come to mind when many people think of Harajuku, but no one wants to shop until they actually drop, so along with boutiques, the district is dotted with cafes. That includes major chains, and while you could pop into one of them when you get thirsty, if you've come all the way out to Harajuku it's usually more fun to head for a unique hole in the wall instead, which is exactly what we did by visiting Himitsu no Drip. The cafe's name translates to 'Secret Drip,' and it definitely has a mysterious-looking interior. Stepping inside, we were greeted by photos of the drink lineup and a map of Japan showing where the produce is sourced for the cafe's selection of fruit coffees. However, we saw only a single staff member, who takes orders and payments, but not a single waiter, waitress, or barista. And yet, the menu has a surprisingly wide variety of beverages to choose from, with 16 different types of fruit coffee using 14 different types of coffee beans. They're incredibly low-priced, too, priced at just 300 yen (US$2.10), and basic black coffee, made with your choice of beans, is even less, only 90 yen. After making your selection, you pay the attendant, who will give you a plastic tag with a number on it. Then you take this tag over to the wall… …and drop it into this hole. After a short wait, the base of the larger tear-drop shaped hole above where we'd dropped our tag began to rotate, and when it had turned all the way around, there was our drink! Himitsu no Drip, which is a limited-time cafe run by Japanese coffee company UCC, is as particular about the presentation of its drinks as it is the shop's interior. Everything we'd ordered came beautifully arranged in tall glasses, looking like something that you'd ordinarily pay at least three times as much as Himitsu no Drip charges for a swanky Harajuku cafe drink. With our drinks in hand, we headed deeper into the cafe, to its seating area, where the furniture is also very visually unique. As a matter of fact, some of the seats are so creatively designed that we recommend being careful as you sit down, so that you don't end up on the floor instead. With our hindquarters sufficiently secured, it was tasting time, and we started with the Yamanashi Pear Honduran and Colombian Coffee. Fruit sandwiches may be a firmly established part of food culture in Japan, but fruit coffee is still decidedly unorthodox. Himitsu no Drip shows that the concept can work, though, as this drink, which has a touch of carbonation, is invigoratingly refreshing, with the juiciness of the fruit, which is grown without any pesticides or chemical or animal fertilizers, gives way to a lingering sense of spice at its finish. Next, the Miyazaki Banana Charcoal-roast Coffee. This is one of Himitsu no Drip's most popular drinks, and it was easy to see why. Though it has a smokey coffee flavor at its base, the banana, milk, cream, and chocolate sauce give it enough rich sweetness that you could classify this as a legitimate dessert drink. We do have one complaint, though. According to the menu, the organically grown banana's peel is edible, and we can confirm that that's true. Just because the peel can be eaten, though, doesn't mean that, flavor-wise, we'd recommend doing so. ▼ Thankfully, this problem is easily solved by just removing the peel and eating the fruit itself. And rounding out our trio was the Aichi White Fig Special Blend Coffee. This one uses a generous amount of white fig jam, something you don't come across all that often in Japan in general, let alone in coffee. We're glad Himitsu no Drip came up with this idea, though, as the gentle mix of flavors brought our taste-testing to a comforting close. …or so we thought! Each fruit coffee comes with a piece of paper with a QR code on it, and if you show it to the cafe staff member, they'll get you a sample-size cup of the coffee used for your drink, so you can see what the brew tastes like without the fruit too. And the deal gets even better if you upload a photo of the cafe or your order to social media. Show the post to the staff, and in exchange you'll receive a cake from Yoku Moku, one of Japan's most popular confectioners. In other words, you can get two tasty drinks and a dessert for 300 yen, which is an astoundingly good deal. The only drawback is that each customer is limited to two orders per seating (we sent a two-person team for this article), but there's no rule against getting back into line after that and waiting to be seated again, which, depending on what time/day of the week you go, could be a very short wait. Himitsu no Drip will be open until August 3. Cafe information Himitsu no Drip / ひみつのドリップ Venue: Rand Omotesando / Rand表参道 Address: Tokyo-to, Shibuya-ku, Jingumae 4-24-3 Court C 東京都渋谷区神宮前4-24-3 COURT C） Open 11 a.m.-6:30 p.m. Website Photos ©SoraNews24 ● Want to hear about SoraNews24's latest articles as soon as they're published? Follow us on Facebook and Twitter! [ Read in Japanese ]
Asahi Shimbun
11-07-2025
- Asahi Shimbun
Theme park boom knows ‘no limit' amid surging demand
A preview event is held on July 10 for the expanded Minion Park at Universal Studios Japan in Osaka. (Sakiko Kondo) Japan's theme park industry is experiencing a wave of expansion and innovation, fueled by surging demand from domestic and international visitors. Leading the charge is Universal Studios Japan, which continues to upgrade its attractions under its 'No Limit!' branding campaign. USJ unveiled an expanded Minion Park on July 11, increasing its size by 1.4 times. The main attraction is a new shooting game, where guests ride a moving walkway and shoot at targets along the way. With no height restrictions, the ride aims to be accessible to a broad range of visitors. On July 18, USJ will also reopen its revamped Snoopy Studio. The upgraded area will include a new indoor roller coaster featuring Snoopy's iconic doghouse, designed for family-friendly thrills in time for Japan's busy summer travel season. USJ isn't the only theme park investing in major upgrades. Oriental Land Co. is pushing forward with large-scale redevelopment plans for Tokyo Disneyland's Tomorrowland. The company is making a significant investment in two major projects in the area: a new attraction set to open as early as fiscal 2026 at a cost of 29.5 billion yen ($200 million); and a complete redesign of Space Mountain and its surrounding area, scheduled for completion in 2027 at a cost of 70.5 billion yen. The expansion follows two consecutive years of record revenues for the company. The flurry of activity comes as Japan's theme park sector enjoys a strong rebound from the COVID-19 pandemic. According to the economy ministry, the industry generated 892.6 billion yen in sales in 2024—1.5 times higher than a decade ago. Attendance is also on the rise. USJ welcomed 16 million visitors in 2023, ranking it third globally among theme parks, according to a U.S.-based industry association. Meanwhile, new players are entering the market. Junglia Okinawa, a nature-themed park in northern Okinawa Prefecture, is set to open on July 25. The park is expected to tap into the growing number of tourists visiting Japan.
