Supercozi: Producer Yukimi Yonezawa finds musical freedom in Bali

supercozi1-380x215One of a few Japanese women electronic music producers to make an international impact, Supercozi (Yukimi Yonezawa) says her new album Bioshifter—the title of which stands for “secret evolutionary process”—represents her growth over a decade as a solo artist. She shared the twisty techno pleasures of the disc and her thoughts on Japan as an outsider, from her home in Bali.

Why did you leave Japan?
The sense of stagnation I felt in Japan became unbearable by the end of 1999. I already had many travel experiences by then, so I was ready to build a new life outside of a familiar matrix.

How does having a career outside Japan compare to staying in the country?
The music industry changed dramatically after the internet became widely available. Where you are located is no longer the critical issue. I welcomed this sea change, because I spent 10 years in the Japanese major music industry, and it was like working in a factory. You have to squash your creativity to fit into the pathetic J-pop system in order to get a tie-up deal with a shampoo ad or something. Compared with this period, running my label outside Japan is like driving a spaceship on my own. It’s fantastic to have unlimited freedom to express myself, releasing whatever I want, and connecting with collaborators and listeners from all over the world.

When you return to Japan, what are your impressions?
There was a mass awakening after March 11 and Fukushima, until Abe’s regime started in 2012. All of a sudden, many ordinary citizens joined SNSs such as Facebook and started discussing nukes, clean energy, our constitution and democracy, forming a new network of grassroots activism all over Japan. Joining a peaceful rally became a normal way to express our concern. This was the biggest change I ever witnessed. But many now practice willful blindness. Sometimes I feel as if I’m witnessing a lemmings march by my own people.

Supercozi Bioshifter Cover

Your posts often criticize Japanese politics. Tell us how life abroad influences your perspective.
Fortunately, I had been always surrounded by people with the mindset of global citizens, no matter where they are from. Being able to exchange opinions on many issues with people of different nationalities inspired me to develop my point of view as a global citizen, too. And yes, I’m very concerned about the current trend of Japanese politics to drag Japan back to the mindset of the pre-war era.

How is life in Bali?
Bali has an ideal balance for me. First, Balinese Hindu culture and Balinese people’s charm remain strong. I fell in love with Bali in 1995, and am still amazed how they maintain their spiritual calmness despite the tsunami of globalization. Of course, there is a huge negative impact from overdevelopment, but Bali still has an unchanged charm if you go to the countryside. Second, Bali has a truly eclectic international expat community—so many creative individuals from all corners of the world. They mix dynamic thinking and an artistic approach in a peaceful lifestyle. I love being here.

There are still very few female DJs. Why do you think that is?
To be a professional DJ for the long term, you need an otaku mentality toward music. You’ve got to spend years developing the knowledge, and keep up-to-date. Looks like males are more equipped for digging into the long tale of the music industry for hours and hours than females. Also, there are technical skills involved to be able to deliver a good mix and adjust the sound to fit each venue. It’s a multitask job that requires wide knowledge and technological ability.

Give us some insight into the making of Bioshifter.
The album is a nice mix of chillout: Slow, sexy techno tunes, and slightly twisted electronica. I’ve got a few exciting featured vocalists, including Sophie Barker from Zero7 and MC Reason. I’m also working on a new album from Zen Lemonade—the unit with my husband Gus Till. It’s a full-on dance album, a mix of techno and progressive psytrance.

Tell us about your label, Hypo=espresso.
I founded it in Bali in 2005. We mainly release our own creations. So far we’ve released six albums. But I like this pace and Hypo is my life’s work. Sounds from Hypo will mature as we get older and absorb more things. It’s nice to have a personal platform like that. We just released an ambient compilation, Music For A Rainy Season, as a limited-edition CD, and it’s selling pretty well already.

For more info, check out www.supercozi.com or http://facebook.com/supercozi

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Wrecking Crew Orchestra: Street dance meets Japanese hi-tech

wrecking-01-380x215Irregular hours are a fact of life for a dancer. Metropolis’ Skype call to Yuichi Yokoi finds the leader of Osaka street dance group Wrecking Crew Orchestra about to begin rehearsal at 11 in the evening.

“We were all once dance instructors; usually we worked during daytime,” Yokoi explains with a laugh. “So the only time we had to practice was at night after work. It’s a habit we can’t seem to drop.”

The eight members of Wrecking Crew are rehearsing what may be their biggest show yet: A 10-day residency at Tokyo’s Zepp Blue Theater.

“We wanted to test our limits of expression,” says Yokoi of the production, which employs sophisticated projection mapping. “With Doodlin’, we go beyond street dance to create an entertainment spectacle. We’ve used projection mapping in our performances before, but we wanted to try something new in terms of integrating technology with street dance.”

Doodlin’ melds street dance with Japanese hi-tech, taking the integration of projection mapping with performance art to a new level. Working with visual director Takehito Suzuki and a pack of costume and stage designers, Wrecking Crew Orchestra employs what’s called a “see-through screen” that allows them to seamlessly blend the dancing and visuals.

Yokoi says the title Doodlin’ stands for graffiti. “The theme is based on childhood,” he offers. “Kids have a limitless imagination. For example, if you have kids draw a cat, but they don’t do a very good job, the cat’s ears may look like mountains. Then they draw a sky as background, and what was supposed to be a cat becomes a landscape. That’s the idea of Doodlin’—images transform before your eyes into something completely unexpected. When we become adults, our freedom of imagination gets hemmed in by social expectations and common sense. With Doodlin’, we want people to recall the freedom of their childhood. We hope to inspire people to open their minds.”

After decades as a dancer and stints representing Japan at overseas events, Yokoi speaks with the voice of someone who’s had time to consider the meaning of his life’s calling. “It has to be a conversation between the dancers and the audience,” he believes. “Dance isn’t just a tool to entertain—but also to tell a story.”

When they go abroad, Wrecking Crew find themselves in the intriguing position of representing Japan via an art form that began on the streets of the United States. “Street dance isn’t Japanese culture, so for us to represent it to Myanmar people was a bit strange,” he recalls forthrightly. “[The] Japanese first imitated American culture, but then we made it our own over time. So we tried to bring that to Myanmar. It was a powerful experience.”

What makes Japanese street dance unique? “[The] Japanese are subtle,” he says, pondering a good answer. “And precise. We’re able to take advantage of that for performances that, for example, involve projection mapping. We try to bring those aspects of Japanese culture to street dance; and Japanese hi-tech—mixing that with street art.”

Rather than finding overseas habits strange, Yokoi says it’s the local response he finds odd upon returning to Japan. “Japanese people are very shy—they’re always checking other audience members out before they decide how to respond,” he responds. “Nearby Asian peoples are more open. So rather than finding other countries strange, when I get back, I find Japan different. I wish Japanese would learn how to enjoy themselves more easily, and not be so uptight.”

While amateur dance forms from salsa to ballroom to Jamaican-style twerking are wildly popular here, dance at the professional level is still a tiny community divided into factions from street dance to ballet to butoh.

Japan needs someone who can unite dance fans, and in Yokoi they may have the right person. Whether it’s in front of audiences in big Japanese cities, or on international tour, what comes through from Yokoi is that he enjoys being on stage at least as much as his fans take pleasure in watching him.

“It’s all I know,” he concludes. “I’ve been dancing professionally half my life. It’s also the area where I express myself best. And it provides a way to interact with people. I even met my wife through dance—and the members of Wrecking Crew, too. More than art, for us dance is a communication tool.”

http://wreckingcreworchestra.com/