Masahiro Takahashi’s latest brilliant album, In Another, will be released on Telephone Explosion Records. A rich combination of sources and sounds played by skilled musicians. Read about his thoughts on music and more at Magazine Sixty.
Welcome to Magazine Sixty, Masahiro. Could you share some of the influences (music you have been listening to) that went into creating your stunning new album, In Another?
High Llamas, Beach Boys, Free Design, Peter Zummo, Penguin Cafe Orchestra, Harold Budd, John White, Riccardo Sinigaglia, Claude Thornhill, Gil Evans, Yusef Lateef, Wunder, Wechsel Garland, Nobukazu Takemura, Young Marble Giants, Weekend (80’s band), Rocketship, Early Japanese video game music, and J-pop
Jazz is obviously a cornerstone in composing your music. What makes it so significant for you?
I guess I’m not the right person to speak about jazz. I’m not intentionally trying to make it, but I’ve always liked music that incorporates its elements. Back in Tokyo, I was more connected with the electronic music scenes. Moving to Toronto has given me so many more opportunities to see jazz performances and connect with collaborators who have a background in jazz. That’s been a huge change in my musical experience. Those musicians brought their jazz sensibilities and vibe into my music. I like the openness, curiosity, logic and rebelliousness of jazz musicians.
I love the breathy melodies (and guitar and horns) on No Kings. Could you walk us through the process of writing that piece of music? Do you have any memorable moments from recording it? Did you use a certain microphone to capture it all?
I wrote the melody and chords, and exchanged arrangement ideas with Joseph Shabason. We layered sax, flute, and trumpet on top of synth voices. Thom Gill played the guitar, and Chris A. Cummings wrote the amazing vocal harmonies. Then, Chris and Dorothea Paas sang on the track. I love how the vocals really made the song special. I’m not sure about the microphones used as Joseph did the engineering, but they were probably a mix of ribbon and condenser.
How would you describe living in Toronto? Could you recommend any favourite places to listen to or perform music?
Tranzac is the best. It’s where I play most of my shows, see live music, meet people, and learn about music. Multiple cool shows are happening every night. Toronto is amazingly eclectic, super cold, and pretty expensive. We have a very vibrant music scene.
Do you have a favourite musical instrument? What is your favourite electronic instrument (do you own one)?
I like playing the guitar. Ableton and iPad are my favorite electronic instruments.
How would you describe the influence of the parables of the Chinese philosopher Zhuangzi and the way it may affect composing music?
I’m trying to paint a world of ambiguity and duality.
Do you feel that music is also a political process or statement?
Whether we like it or not, music is inevitably related to politics. For me, as an Asian playing keyboards in the Western-defined 12-tone equal temperament and 4/4 time, it reflects what world history is like, the same as me speaking English. Our cultural capital is inherently internalized within the world’s order. I’m curious if we can ever transcend it.
How do you reflect upon how artists can make a living from their art in terms of streaming and the ways social media works?
The streaming model needs to compensate musicians more fairly. However, sometimes people commission work from me by finding me online, which I have to say I benefit from. Social media helps me connect with other musicians or music lovers around the world. But sometimes it feels like people forget we are real humans behind the screens.
And finally. Tell us about the great artwork on the sleeve by Alicia Nauta and Eunice?
Eunice Luk wanted to create an immaterial image using projection. She drew a butterfly, which was then projected in Alicia Nauta’s basement for a photoshoot. Afterward, Alicia added her collages. To me, it captured a moment where fiction and reality blur. I love how the artwork evolved from two-dimensional to three-dimensional, and back to two-dimensional again. The artwork plays a very important part in music because it resonates with the listener’s imagination.
Release: March 20:
Stream/Download Masahiro Takahashi – In Another on Bandcamp
Buy vinyl at Juno
Masahiro Takahashi Instagram
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