Jesse & SASAKI Hiroaki

J：我出生在花蓮，環境類似你的家鄉倉敷，是個山海環抱的城市。你覺得自然環境會影響聲音風格或音樂偏好嗎？特別是極簡的音樂結構？

SASAKI: 就像花蓮一樣，倉敷也是一座被山與海所環繞的城市。這裡有歷史街景與紡織產業，在某些角度看起來有點像小京都。最南端的海岸地區是知名的牛仔布產地，同時也是日本大型工業區之一。倉敷擁有美感與工業風格並存的景觀。

我出生在倉敷市中心西區，這裡有一座美術館。我小時候曾在那裡接觸到繪畫、日本畫與藝術。對我來說，與其說是色彩的表現，我更常被線條所吸引。如果回應問題中提到的「極簡主義」，我覺得這樣的感受與它有某種重疊之處。我曾經很喜歡賈克梅第與棟方志功的作品。如果這樣的感受能夠傳達出來，我會很高興。（微笑）

J：「極簡（Minimal）」對你而言是什麼？無論是作為音樂類型，或是一種個人風格？

SASAKI：「極簡」與其說是一種音樂風格，不如說是一種手法，是存在於類型當中的一種元素。最近經常有人把它當成一個風格來問我，坦白說我常感到有些困惑。對我來說，當事物被剝除到剛剛好的程度時，那種狀態才是最自然的。重點在於「程」，就是那種恰到好處的平衡感。這也與空間與留白的使用密切相關，我一直努力保有這種感覺，因為那讓我感到自在且真實。

J：你當時為什麼會想在東京創立自己的廠牌？一開始有什麼想實現的目標或願景嗎？

SASAKI：我不太喜歡迎合別人，而當我嘗試透過其他廠牌發行作品時，經常得不到接納。與其這樣，我覺得不如自己發行會更快。我在網站上也寫下了成立廠牌時的初衷，也包括我對音樂結構的基礎理解，而這一點到現在都沒有改變。「如果在我不知道的地方，有人正在聽我的音樂，那就太好了。如果有人能跨越時代和地域喜歡上我的作品，那是件令人欣慰的事。即使某些人覺得那些作品只是垃圾，但若對另一群人來說，它是寶物，那我會相信它是值得存在的。」我也希望，透過作品，可以留下我曾經存在的痕跡。

J：那麼，在你看來，日本的電子音樂場景有什麼讓你特別有感的地方嗎？

SASAKI：這真的是一個很難回答的問題。東京有各式各樣的音樂風格，每次談到這個主題時，我總會有點緊張，擔心自己講錯、或傳達不準確。反過來說，我反而更想問你——從你們的角度來看，日本的音樂場景是怎樣的？

J：這些年來，你是怎麼在創作與日常生活之間取得平衡的呢？

SASAKI：大概是這十幾年來，我才真正找到了創作與生活的平衡。那樣的改變，是從我開始兩地生活時開始的。在兩個地方生活，讓我看到與經歷的事情翻倍，靈感也變得更容易獲得。但相對地，整理與捨棄也變得更困難了。這樣的生活方式讓我能夠將音樂與工作區分開來——我為了音樂而賺錢，音樂也成為我生活中非常重要的一部分。我一直努力保持自律。選擇這條路，也讓我與所謂「正常的人生」越來越遠，但也正是從這裡誕生了創作的靈感。

對了，演員勞勃·狄尼洛曾說過：「失敗了？那就下一個！」這句話讓我很受啟發，也許正是這樣的想法，一直支撐著我走到現在（笑）

J: I was born in Hualien, a coastal city like your hometown Kurashiki — both surrounded by mountains and the sea. Do you feel this kind of natural environment has influenced your sound or preference, especially in minimal music?

SASAKI: Like Hualien, Kurashiki is a city surrounded by mountains and the sea. It has historic streets and a textile industry, and in some ways, it feels like a small Kyoto. The southern coastal area is known for denim production and is also one of Japan's major industrial zones. The landscape here blends both beauty and industrial character.

I was born in the western part of Kurashiki city center. There is an art museum nearby, and as a child, I was exposed to Western paintings, Japanese-style art, and various kinds of artwork. I was often drawn more to lines than to colors.

If I were to respond to the question about minimalism, I’d say there’s definitely a connection. I’ve always liked artists like Giacometti and Munakata Shikō. If I could communicate that sense through music, I’d be happy. (smiles)

J: What does “Minimal” mean to you — both as a genre and as a personal expression?

SASAKI: Minimal is more of a method than a genre — an element that exists within genres. Lately, I’ve often been asked about it as a genre, and honestly, that throws me off a bit.

To me, it feels most natural when things are stripped down to just the right degree. The key lies in balance — what I would call “程 (hodo)”.

It’s also deeply connected to the use of space and silence. I try to keep that feeling alive because it feels comfortable and true to myself.

J: What inspired you to start your own label in Tokyo? What kind of vision or purpose did you have at the beginning?

SASAKI: I didn’t like having to conform to others, and when I tried releasing my work through other labels, it often wasn’t accepted. So I figured it would be faster to just release it myself.

I’ve written about the original intention and the musical foundation of the label on my website, and that part hasn’t really changed.

“If somewhere I don’t know, someone is listening to my music, that’s wonderful. If someone, across time and place, connects with my work, that makes me happy. Even if it looks like garbage to one person, if it feels like treasure to someone else, then I believe it deserves to exist.”

I also hope that the trace of my existence can be left through the works I create.

J: Is there something particularly striking to you about the electronic music scene in Japan?

SASAKI: That’s a tough question… Tokyo is home to so many different music styles. Every time I try to talk about it, I feel a bit nervous, worried I might say something wrong or misrepresent things.Actually, I’d like to turn the question around — how does the Japanese scene look from your perspective?

J: Over the years, how have you managed the balance between creative work and daily life?

SASAKI: It’s only in the last ten or so years that I’ve found a real balance. That shift started when I began living between two locations.

Living in two places doubled what I saw and experienced, which made inspiration easier to come by — though sorting and letting go has become harder too.

This lifestyle let me separate music from work — I earn money for music, and music has become a major part of my daily life.

I try to maintain self-discipline in it. Choosing this path has pulled me further from what’s considered a “normal life,” but that’s exactly where the inspiration comes from.

Oh, and as actor Robert De Niro once said: “Failed? Then next!” I found that line really inspiring — maybe it’s that mindset that’s kept me going. (smiles)