Tokyo’s Mule Musiq celebrates its 4th anniversary

Tokyo’s Mule Musiq celebrates its 4th anniversary

18 March, 2008 | 9.17AM

• Written by: Yuko Asanuma
• Filed under: Music News: endless flight, mule electronic, mule musiq

This Wednesday night (before public holiday), a Japanese electronic music label Mule Musiq holds its 4th anniversary party jointly with Kompakt at Club Yellow starring DJ Koze, Terre Thaemlitz, Koss aka Kuniyuki Takahashi, Tony Lionni, Don Williams, Code E and more.

Mule Musiq is a relatively new label, but it has made a great contribution in introducing quality music to and from Japan. Its releases are distributed worldwide through Word and Sound, and its sister label Mule Electronic through Kompakt.

It’s one of the few truly global record labels based in the far east.

Here’s an exclusive interview with Toshiya Kawasaki, the mysterious mastermind behind Mule Musiq.

How did you get into the music business and what made you start your own label, Mule Musiq?

I had been working in fashion industry for a long time, but I always liked music and used to DJ in clubs for fun.

When I was working as a buyer for a clothing store called “no.44” which became a very successful chain at the time, they decided to sell some CDs and records in some of the stores.

I became involved in selecting them.

Around the same time, I was looking for a guest DJ to spin at my club nights, and the first person who came my mind was Michael Mayer.

That’s about 8 years ago, when I was 24.

You had no experience in working in the music industry before?

No, not at all.

However, soon after that, I became a freelance fashion buyer.

I also started promoting DJs from Europe, such as Kompakt DJs and Henrik Schwarz.

When I traveled around the country with them, I began to receive a copy of the demos that people brought to give the artists.

That’s when I realised the possibility of starting my own label to release some of the music.

So it was something you never planned?

No, it just turned out like that.

It was quite spontaneous.

The first thing I did was ask Kompakt for their advice, because I knew I should look beyond Japanese market.

They said they would support me in worldwide distribution, so I thought I should give it a try.

The first label I founded was Mule Electronic, which is simply an electronic imprint.

On the other hand, Mule Musiq is a label I established initially to release the music of Kuniyuki.

As much as I liked the Kompakt and Playhouse type of sounds, I had always been into jazz and more mellow, organic sounds as well.

So I ran those two labels for a while, and then launched the third label Endless Flight to release the music that doesn’t fit into either of the two.

All of your labels have a unique mixture of Japanese and international artists. Was it intentional to make such mix?

Yes and no.

I always wanted to make good Japanese-made music to be heard as many people as possible outside of Japan.

Being Japanese myself, I feel most blessed when I receive good feedbacks for Japanese music from people in other countries.

At the same time, it’s a lot more interesting and exciting for me and for the label to have international talents on the roster.

That openness is something that conventional Japanese labels didn’t have.

Such environment inspires not only myself but also our Japanese artists.

I think it creates a chance for something new to be born out of.

Do you actually receive a lot of feedback from overseas?

Yes, in fact, Japan is the most reluctant market.

The European market appreciates our music so much more.

It’s partly because I haven’t done as much promotion in Japan as I do in Europe and USA, and partly because the Japanese music media have cozy relationships with record companies, and it’s not easy to have a coverage if you are outside of their family.

Hmmm...

The competition was a lot tougher in the fashion industry, so the music industry and media, especially in Japan, appear a bit lazy and unfair to me.

That’s why I have been trying to distance myself from that circle.

Nonetheless, you have achieved a lot in 4 years. What’s your next goal?

I actually feel like I’m doing pretty much all I can as a record label at the moment.

I run three labels all by myself, and I’m releasing a record almost every week (laughs).

I have 50 to 60 records to be released in 2008!

What I hope is that I would like to be enjoying what I do.

I will continue to run my labels, but I personally want to try something else in another field this year.

Maybe back in the fashion world.

I’ve been releasing other people’s work, so I think it’s time for me to try something new and create something of my own.

Impressed? Below are some of the upcoming releases from Mr. Kawasaki’s labels

Mule Musiq

marcello giordani/escape from scapegoat inc dj naughty remix (mm24)
kuniyuki takahashi/all these things (mmcd3)
force of nature/remixed inc still going&stefan goldmann remix (mm25)
henrik schwarz&kuniyuki/the session (mm26)
force of nature/new single (tba)
kuniyuki/remixed vol.1 moodymann & a mountain of one remix (tba)
kuniyuki/remixed vol.2 theo parrish & quiet village (tba)
kuniyuki/remixed vol.2 cobblestone jazz & precious hall 2008 ver (tba)
kuniyuki/remixed vol.2 henrik schwarz & tokyo black star (tba)

Mule Electronic

audision/red sky roland appel remix (me43)
va/my favorite things (mecd11&me44)
dan foat/droidnorsh (me45)
IMPS aka minilogue/album&sampler 12inch inc koss aka kuniyuki remix (me46&mecd12)
alex attias/brazilika (me47)
glowing glisses(aka guido schneider&florian schmeiser)/bassqueen inc ripperton&tony lionni remix (me48)

Endless Flight

snow patrol/shut your eyes naum(aka optimo)remix (ef5)
kink&stefan goldmann/nebula sofia (ef6)
tensnake/keep believin (ef7)
subway/night and day (ef8)
betty botox aka jd twitch/tba (tba)

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