Wabi by TAKAHIRO MUKAI
When Mukai traces the origin of his musical journey, he shares a few seemingly random moments. Between the ages of 12 and 15, he lived in Lima, Peru, an experience that may have subtly influenced his approach to music creation. In high school, he learned and played the clarinet in the school’s wind orchestra. His musical inspiration seems to have taken root in the New Wave movement of the 1980s. By the early 1990s, he was struck by the sounds of intelligent techno and thus purchased a Mac and a synthesizer, officially starting his electronic music creation around 1993.
Today, Mukai’s music has deeply rooted itself in analog sound processing. Heavily influenced by the minimalist ideas of German experimental musician Conrad Schnitzler (an early member of Tangerine Dream and a founding member of Kluster, as well as a pioneer in early electronic music), Mukai relies on intuition in his creative process, using analog compact synthesizer systems and pedals rather than modern digital music production tools like DAWs (Digital Audio Workstations), to emphasize sound textures and tonal preferences. This dedicated approach distances Mukai from traditional composition in terms of melody and structure, rendering his work abstract, but it also enhances the immersive sonic experience he creates.
Mukai’s simplicity and dedication also manifest in his working style. His released tracks are often titled with numbers, which merely indicate the order in which they were created, without any additional narrative or concept. His newly released album, Wabi, includes tracks numbered 539 to 545. These seven pieces were recorded in a short span of time during this year’s rainy season. While Mukai appears bold and unconstrained in releasing his expansive catalog, the music in Wabi remains subtle and restrained, full of a simple beauty.
The album reflects wabi-sabi, the Japanese aesthetic of finding beauty in imperfection and transience. Mukai admits he didn’t intentionally merge Eastern traditional aesthetics with modern experimental electronics, nor did he dwell on their relationship. His creation feels spontaneous, without consciously aiming to convey any particular philosophy or aesthetic, though it naturally resonates with these ideas. Perhaps, this simplicity itself also aligns with the natural path in East Asian traditional culture, realizing a balance between dynamic and quiet moments in his creative practice and even in his life.
Mukai has never DJed, and in recent years, he has rarely performed live. He was once active in underground clubs and galleries, performing his abstract pieces or presenting exploratory musical performances. However, about five years ago, he began to lose interest in the experimental music scene in Japan around him and lost his motivation for live performances.
Although bié Records often emphasize "connection" and repeatedly underscore the importance of "gathering," on the other hand, we also believe in the value of a certain kind of "solitude." The intervals between gatherings may actually be the mainstay of each of our lives. In daily life, we need individual thinking and personal development, and we need to create space for quiet reflection for ourselves. Takahiro Mukai’s creations belong to solitude, as he humorously suggests, “listen to them while cleaning your room.” His presence is lonely yet thriving.
Today is Xiaoxue (Light Snow, one of the 24 Solar Terms), a time when all things fall silent. Closing bié Records' release schedule this year with Wabi feels especially fitting.
Credits
All music composed and produced by Takahiro Mukai
Mastered at Brandenburg Mastering
Cover Photo by Meng
Designed by Tom Ng
Typeface by Day Fuhe
