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Japan Times
29-07-2025
- Entertainment
- 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.'
Times
22-07-2025
- Entertainment
- Times
Haruomi Hosono review — a rare glimpse of Harry Styles' inspiration
This Royal Festival Hall concert was an extremely rare chance to see one of the great figures of Japanese art music. A 78-year-old who passed through the early 1970s folk rock band Happy End and the electronic pioneers Yellow Magic Orchestra, while making a series of solo albums that forged the sophisticated style of Japanese music known as city pop, Haruomi Hosono has a back catalogue like no other — and also inspired Harry Styles' album Harry' s House. So it was a shame that he limited his actual time on stage, filling the gaps in various ways when really the audience simply wanted to be in his presence. The support act, a youthful Japanese experimental troupe, were given an hour's worth of stage time, a decision that might have had something to do with their having Haruomi's grandson on bass guitar. For the main event Hosono's female backing singers, also on xylophone and keyboards, sang a medley of his songs, including 1975's dreamlike Honey Moon. Finally the man himself arrived, a sprightly figure in beatnik cap and sunglasses, as did a handful of old favourites including the wonderfully laid-back Bara to Yaju, from his classic 1973 solo album Hosono House. Then he was off again. 'He is a legendary musician and a famous smoker,' his guitarist announced, explaining the reason for Hosono's exit, which left the band to play Firecracker, an old Yellow Magic Orchestra favourite, on their own while their leader went off for a cigarette break. He returned to do The Madmen, another YMO classic, and his own Sports Men, which with its bright electronic melody and urbane mood set the template for Japan's city pop sound. Backed by an extremely good band, this was complex music with a carefree quality, somewhere between tropical and avant-garde, which made it a joy to witness. Not least when Hosono left the stage while flapping his arms like a chicken.
Japan Times
28-05-2025
- Entertainment
- Japan Times
Songs, stars and strategy: Japan debuts its newest awards ceremony
Under a wash of blue stage lights inside Kyoto's Rohm Theatre, Haruomi Hosono stood alone. A founding member of influential techno-pop group Yellow Magic Orchestra, he addressed an attentive audience on the closing night of the inaugural Music Awards Japan — not just as a musician in his own right, but on behalf of his late YMO bandmates, Ryuichi Sakamoto and Yukihiro Takahashi, and artists across the country. 'There are two people who couldn't make it here today. It's because of their talent that I'm able to stand here,' said Hosono, adding that he 'felt very honored' the pioneering YMO has been chosen as a kind of 'symbol' to represent that best Japanese music has to offer. Reflecting on the influence of his artistic peers, he expanded on the thing that drives artists to create. 'It's the passion we have for music, our love for it. We tried to come up with something unique to Japan.' J-pop Yoasobi delighted audiences with a performance of 'Idol.' | © CEIPA / MUSIC AWARDS JAPAN 2025 It was a moment steeped in reverence amid a week of celebration as Japan's 'answer to the Grammys' took place in the old capital on May 21 and 22. The Music Awards Japan (MAJ), which also included a YMO tribute concert a day before the ceremonies began, sought to strike a balance between past and present, domestic stardom and international reach. 'This awards ceremony is a source of encouragement for (musicians),' Hosono continued. 'There are many musicians who haven't made it here yet, but I hope they'll continue to mature beyond the boundaries of the entertainment industry. That's what I'm most looking forward to. I truly believe that support from the industry is essential.' Spearheaded by the Japan Culture and Entertainment Industry Promotion Association, a coalition of five major music associations, MAJ brought together around 5,000 musicians, producers and industry experts to recognize achievements in 62 categories. The two ceremonies where the awards were presented — red glass statuettes dubbed 'Rubies' — were broadcast live on NHK and streamed online where they were accompanied by curated playlists, signaling the organizers' intent to not just reward Japanese music but to export it. The launch of MAJ coincides with growing overseas interest in Japanese music thanks to viral hits driven by social media, anime tie-ins, and domestic labels and agencies embracing the internet as a way to reach international listeners. J-pop acts are literally making moves abroad, too. Last year saw a record number of groups — including Yoasobi, Awich, Atarashii Gakko! and Number_i — take the stage at Coachella Valley Music and Arts Festival in California in April, while singer Ado and idol outfits XG and Travis Japan embarked on world tours. This year also sees singer-songwriters Kenshi Yonezu and Kaze Fujii setting out overseas, as well as groups Wednesday Campanella and Hitsujibungaku. MAJ's aim is to cultivate more of these kinds of stars who have the potential to shine outside of Japan. While focused on current global ambitions, MAJ took the unusual move of awarding past hits, too, as if to say "Japanese music isn't just good now, it has always been good" ... or maybe it was a ploy to try to get some extra star power in attendance. Older songs such as Hikaru Utada's 'Automatic' (1999) and Kurousa-P's "Senbonzakura" (2011) won awards in the best Japanese R&B/contemporary song and best Vocaloid culture song categories, and even Teriyaki Boyz' 2006 track 'Tokyo Drift (Fast & Furious)" got a shout-out in the top Japanese song in Europe section. Rapper Chanmina delivered a rowdy set at the grand awards ceremony at the Music Awards Japan. | © CEIPA / MUSIC AWARDS JAPAN 2025 Meanwhile, the MAJ Timeless Echo award was presented to 75-year-old rocker Eikichi Yazawa, who burst onto the Rohm Theatre stage in a shiny, dark red suit, flipping over his mic stand with flair and swiveling his hips as he sang 'It's Up to You!,' 'Tomaranai Ha~Ha' and 'Yes My Love.' With a nearly 50-year-long career behind him, Yazawa's presence encapsulated the enduring power of Japanese rock. Musical heritage aside, the bulk of the awards went to newer acts like Hitsujibungaku, King Gnu and tuki., and hip-hop duo Creepy Nuts took home a total of nine statuettes — the most of any act — including song of the year for their viral hit 'Bling-Bang-Bang-Born.' Members DJ Matsunaga and R-Shitei earned one of the biggest laughs of the awards when, at the earlier ceremony where they won their first seven awards, a trolley of Rubies was rolled out onto the stage and the pair struggled to hold all the hefty trophies in their arms. MAJ's goal of demonstrating Japan's soft-power supremacy also came in the form of awards presenters — 'The Solitary Gourmet' actor Yutaka Matsushige, figure skater Mao Asada, contemporary author Mieko Kawakami and veteran actor Koji Yakusho all handed out Rubies. The show's live performances also ran the gamut of musical genres. At the May 21 ceremony, audience members were treated to sets ranging from koto player Leo's contemporary approach to traditional Japanese music and the atmospheric beatboxing of Show-go to the powerful vocals of Azumi Takahashi belting the 'Dreamgirls' show tune, 'And I Am Telling You I'm Not Going.' Rocker Eikichi Yazawa received the MAJ Timeless Echo award. | © CEIPA / MUSIC AWARDS JAPAN 2025 The following night upped the ante. In addition to live performances from Yoasobi and Creepy Nuts — as well as a pretaped recording from Hikaru Utada — rapper Chanmina, at one point suspended in the air alongside two acrobats, delivered a rowdy set that included an audacious split. Kaze Fujii, sat at a piano with one foot propped on his knee, exuded a cool charisma as he played a stripped-down 'Michiteyuku.' Later, Awich performed with fellow rappers Ai, Nene and MaRi on a rousing version of 'Bad Bitch Bigaku,' followed by a duet with Ai on 'Not So Different Remix.' The highlight performance came from rock band Mrs. Green Apple toward the end of the night, as two full rows of string players were dramatically revealed for a lush, emotional rendition of 'Darling.' The show was not without its quirks, though. At times, the backstage crew's voices and shifting set pieces were audible during speeches and presentations. A mismatched video package played after one award was announced, forcing presenters to improvise. Awich performed with fellow rappers Ai, Nene and MaRi. | © CEIPA / MUSIC AWARDS JAPAN 2025 The aforementioned Mrs. Green Apple bookended the ceremonies by winning both the first and last awards presented over the two days — best Japanese song artist and artist of the year, respectively. 'This year marks our 10th anniversary since our debut, and we've been talking nonstop about what to do in the future, what kind of interesting things we can do and what the future holds,' said Mrs. Green Apple vocalist Motoki Ohmori while accepting the artist of the year award. 'We've been focusing on the long-term vision for over a decade, but this year, we finally took the time to reflect on the past 10 or so years and truly appreciate each other. We've been able to keep going thanks to the support of so many people, but above all, because I truly love creating music with these members. It's been a blessing. Thank you so much.' Mrs. Green Apple bookended the Music Awards Japan ceremonies by winning both the first and last awards presented over the course of two days — best Japanese song artist and artist of the year, respectively. | © CEIPA / MUSIC AWARDS JAPAN 2025 Amid the domestic bliss was also plenty of love for overseas acts with genre-specific prizes going to Coldplay, Kendrick Lamar and Ariana Grande, among others. Country-specific awards rewarded artists from Japan's Asian neighbors, including Seventeen (South Korea), Zhou Shen (China) and Lola Amour (the Philippines). It's too early to tell if a Ruby will one day be as coveted as a Grammy, but as far as debuts go MAJ had something for pretty much everyone. The real test will be if next year's celebration is able to live up to the first. For more information about the Music Awards Japan, visit
