4/29 · 2F｜AOKI takamasa 青木孝允

ReCharge：AOKI takamasa

4/29 · 2F

实验，简洁，抽象，律动，是对青木孝允作品的形容。自从2001年发表首张专辑《Silicom》以来，青木孝允的作品很少重复自我，保持严谨的创作内核的同时，他的触角向四处延伸，持续高产地活跃在世界前卫电子乐坛中。

AOKI takamasa rhythm variation 06

他迄今为止发表的专辑由于多样性且不断向前滚动的创作而被不同的行家以及乐迷赏识，并分别被收录在各大重要的厂牌下，包括日本独立厂牌PROGRESSIVE FORM，坂本龙一的厂牌Commmons，半野喜弘的个人实验电子厂牌Cirque，德国著名电子厂牌Raster-Noton，柏林厂牌Stroboscopic Artefacts，瑞士电子厂牌Svakt，英国厂牌FatCat Records等。

4月29日，SYSTEM和ReCharge联合邀请，跟随AOKI takamasa的独家黑胶DJ set，探索感知的边界，进入一个充满声音奇迹和灵感的世界。

AOKI takamasa

1976年出生，居住在大阪。

自2001年发行首张专辑《SILICOM》以来，AOKI在国际和国内担任制作人，现场表演者，DJ和摄影师。AOKI从2004年开始在欧洲活动，2011年回到日本，继续为国际和国内艺术家制作mix和remix。

← ENG

Born in 1976. Osaka based.

Since releasing his debut album, SILICOM (2001), AOKI has worked both internationally and domestically as a producer, live performer, DJ and photographer. Based in Europe from 2004, returning to Japan in 2011, AOKI continues to produce, mix and remix for international and domestic artists. 

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你上一次在中国表演是什么时候？你对中国的电子音乐场景有什么印象？

How long has it been since your last performance in China? What is your impression of the electronic music scene in China?

我上一次在中国的表演是2019年4月20日在上海44kw的DJ演出，所以距离现在正好四年。老实说，我对中国的电子音乐场景了解不多，但是我会有意识地在未来进行更多的研究。

← ENG

My last performance in China was as a DJ at 44kw in Shanghai on April 20th, 2019, so it has been exactly four years since then. To be honest, I am embarrassed to say that I don't have much knowledge about the electronic music scene in China. However, I will make a conscious effort to research more about it in the future.

你在世界各地演出，观众的反应和反馈会因为不同的文化、气候、宗教而有所不同吗？

You perform all over the world, how do audience reactions and feedback differ based on different cultures/climates/religions?

据我所知，我并没有感受到来自不同地区观众之间的太大差异。不过，我确实感到亚洲观众（尤其是日本观众）在跳舞方面比西方观众要害羞一些。

← ENG

As far as I know, I don't feel much difference between the audiences from different parts of the world. However, I do feel that Asian audiences (especially Japanese) tend to be a little more shy about dancing compared to Western audiences.

日本与电子音乐有着深厚的历史。你对90年代的实验电子音乐场景有什么记忆？（你的同行是谁？你有什么经验？等等）

Japan has a deep history with electronic music. What are your memories of the experimental electronic music scene in the 90s? (Who were your peers, what experiences did you have, etc.)

我觉得在那个时候，由于计算机和软件的发展，变得可以创造以前不存在的“声音”。我很幸运在20多岁时经历了那个激动人心的晚期90年代的时代。

当时，我有幸与各位艺术家如Yoshihiro HANNO、Fumiya Tanaka、Tsujiko Noriko、Taeji Sawai、Nao Tokui、kohei、yoshiki、Ryoichi Kurokawa等一起工作。难以一一列举，但是我与每位艺术家一起工作都有着美好的经历。我很感激那个时期的一切。

← ENG

I feel that at that time, due to the development of computers and software, it became possible to create "sounds" that did not exist before. I consider myself very fortunate to have experienced the exciting era of the late 90s during my early twenties, when I was particularly sensitive to new experiences.

I had the honor of working with respected artists at that time such as Yoshihiro HANNO, Fumiya Tanaka, Tsujiko Noriko, Taeji Sawai, Nao Tokui, kohei, yoshiki, Ryoichi Kurokawa, etc. It's difficult to name everyone, but I had wonderful experiences working with each artist. I am grateful for that.

IDM和glitch音乐并没有“构图”，但我认为音乐是从内在逻辑发展的。你在创作音乐时的逻辑/提示是什么？

IDM and glitch music do not have "composition" per se, but I think music develops from internal logic. What is the logic/hint when you create your own music?

FUNK，Mother Earth Gaia，和宇宙。我的所有创作灵感都来自这三个方面。我希望地球文明能够尽快摆脱疯狂的货币体系，并在没有战争、阴谋或控制的情况下实现真正的觉醒。我根据这个想法创作音乐。

← ENG

FUNK, Mother Earth Gaia, and the universe. All of my inspiration for my work comes from these three things. I hope that Earth's civilization can break free from the madness of the monetary system as soon as possible and achieve true enlightenment without war, conspiracy, or domination. I create music based on this idea.

请简要介绍一下你到目前为止最新的专辑？自发行以来，你的音乐口味有变化吗？与音乐制作有关的设备或例程是否有所发展？

Could you please give us a brief explanation about your latest album to date? Has your music taste changed since its release? Also, have your devices or routines related to music production evolved?

目前，我并没有在制作新专辑，但我计划不久将来开始制作一张新专辑。我最近在bandcamp上发布了一些作品，可在以下链接找到：https://aokitakamasa.bandcamp.com。我还最近在莫斯科的HAZE厂牌发布了一张12英寸EP。

自那时起，我的音乐口味没有改变，以FUNK为基础，但始终围绕着FUNK轴不断演进。目前，我的目标是创作能够让观众沉浸在无压力、舒适和黏性的节奏中，并能为整个人类文明的和平和觉醒做出贡献的音乐。

与过去相比，我逐渐转向更注重硬件设备的设置。我相信我的制作流程比以前更加简约和意识到舞曲的特点。

← ENG

Currently, I am not working on a new album, but I plan to start production for one in the near future. I have released relatively recent works on bandcamp, which can be found at the following link: https://aokitakamasa.bandcamp.com. I have also recently released a 12-inch EP from the Moscow label HAZE.

My music taste has remained unchanged since then, with FUNK as its foundation, but it is constantly evolving around that FUNK axis. Currently, I aim to create music that allows my audience to immerse themselves in a stress-free, comfortable, and sticky groove, and that can contribute to the peace and awakening of the entire human civilization.

Compared to the past, I have gradually transitioned to a setup that focuses more on hardware devices for production. I believe my production routines have become more minimal and conscious of dance music than before.

你能简单介绍一下你的工作室吗？

Could you briefly introduce your studio?

我的工作室位于日本的大阪市。它以软件和硬件相平衡的方式设置，电脑是中心，适当的设备放置在各自的位置上。

← ENG

My studio is located in Osaka, Japan. It is set up with a balance between software and hardware, with the computer as the centerpiece, and the appropriate devices placed in their respective places

我了解到你也是一位摄影师。摄影是否扩展了你的表现维度？

I understand that you are also a photographer. Does photography expand the dimensions of your expression?

我不确定它是否扩展了我表现的维度，但我有意识地以极简的视角拍摄照片，就像一个外星人第一次来到地球，用新鲜的视角看待一切，意识到当前的时刻。我希望那些看到我的照片的人能从日常的压力中解脱出来，这也是我分享它们的原因。感谢这个机会。

← ENG

I am not sure if it expands the dimensions of my expression, but I consciously take photos with a minimal perspective, as if an alien came to Earth for the first time, with a fresh view of everything in mind, and aware of the present moment. I hope that those who see my photos can be released from their daily stress, and that is why I share them. Thank you for this opportunity.