The Road to the Debut Album Production

――You knew each other before your debut, correct? What were your initial impressions of one another?

KawakamiI knew Wada-kun from when he was performing solo. He was quite well-known among other media artists. Later, Open Reel Ensemble (hereafter ORE) performed at an event for which I designed the posters.

YoshidaIt was an event called 'Boycott Rhythm Machine,' an improvisational live performance that featured Ryuichi Sakamoto and Yoshihide Otomo.

WadaThat's how we learned about Kawakami-san.

KawakamiThat's right. So when I heard they were releasing a CD, I thought, 'Are these guys musicians?' (laughs). It sounded interesting, so I wanted to do it. Their live performance is already famous, of course. ORE is definitely about live performance, so doing a CD is a bold move. A DVD felt within the realm of possibility, but a CD is a challenge. But it's great, in a way. It's imaginable.

YoshidaWe had also seen Kawakami-san's designs and works before and were drawn to them. We felt a charm in designs that capture a moment, or that convey a sense of space and tension.

Like a Film Director Assembling a Cast

――Your debut album features a star-studded lineup of guests, doesn't it?

YoshidaWe were very fortunate. It's something that wouldn't normally happen.

WadaSo, first, we sent letters to the guests explaining what we do and our passion. We asked them to 'push another switch for ORE' or 'breathe life into it by lending your voice.' We expressed it in various ways. It's most important that they participate because they find our project interesting. We asked them to 'please appear within the narrative and history we've built.' It felt like assembling actors for a film.

KawakamiThat's exactly how a film director would recruit talent. You even emailed Manny Marx, didn't you?

WadaThere's a song called 'Push The Button.' Our pitch to Manny Marx was 'Push The Another Play Button.' We have this sense of collecting sounds that someone has uttered in the real world and creating a different story from them. It's real, yet it has the quality of a film soundtrack. We were honored to receive the voices of so many people.

――What was your connection with Masaru Ibuka?

WadaWhen you delve into the history of tape recorders, Masaru Ibuka is an extremely important figure in Japan. There are various research teams, but Ibuka was the founder of the company at the time and the person who actually built the tape recorder. So, when we learned that his voice was preserved on tape at the Sony History Museum, we contacted them. They initially refused, but I said, 'We're not an ordinary band! This is inevitable! Our story cannot be complete without Ibuka's participation!' I really spoke like a film director.

KawakamiThat's why 'Sony History Museum' is properly listed in the special thanks, isn't it?



――Were there any specific considerations when you were designing the CD?

KawakamiIt wasn't so much a consideration, but as we were discussing it,──How should I put it... I saw it. The Open Reel CD should be transparent, Wada-kun, it has to be transparent this time.

WadaIt was instantaneous. A spark. We were excited. At first, I felt bad about giving him the sample disc. It was just a cheap plastic case. Then, Kawakami-san started peeling away the paper inside, saying, 'Isn't this in the way?' and as he did, it became cooler and cooler. Then he said, 'What if we put the text on this?' We all burst out laughing (laughs). It was cool, the texture of this plastic case itself, all integrated. It was that 'aha!' moment.

KawakamiThe reel-to-reel machine itself is old, antique, isn't it? In a way, the CD's plastic case is also antique to us now. Paper sleeves are modern these days. The absence of a paper sleeve was actually a good thing. Also, it's a double-disc set, CD and DVD. A double-disc case is also quite rare. So, I thought a design that reveals everything would be cooler. The name 'Open Reel' also evokes an image of opening everything up, so for this design, I wanted to use as much transparency as possible, just a transparent plastic case! That was the idea.

WadaA sandwich of two discs.

KawakamiExactly. The two discs sandwiched together can also look like a reel-to-reel. I probably thought of that. Then, the process of placing the text and everyone's credits on it──They actually had strong feelings about the songs, but we decided not to put them on the CD and instead develop them on the website. On the website, we had them draw their passionate feelings as pictures.

――Did someone draw the pictures?



YoshidaThe jerky, frame-lacking feel (laughs).

WadaThe slight sense of atavism is nice, isn't it? The clunky movement.

KawakamiThey all have a deep attachment to their music and a solid concept. They aren't just making pop music. They incorporate sounds from old archives, and their approach to music creation is quite profound. That's why they can create such 'pictures'.

Wide Range, Unbound by Convention

――What do you want to convey through this work?

WadaWe want listeners to embark on their own journeys upon hearing the sounds. We've expanded on those fragmented hints on the website. That journey is the world we imagined when we listened to the reel-to-reel tapes, and we've managed to translate that really well.




YoshidaWe want people to feel the gap and surprise when they peek inside.

KawakamiYou can't imagine what kind of sound is inside at all.

――I'm looking forward to the live performance as well.

WadaIn our live shows, we express the fantasy inherent in recording and playback through the physical manipulation of reel-to-reel machines as a performance. We aim to showcase the situation, the background of the sound, the story, and the movements that connect with the music. Sometimes we spin the reels at high speed, which I've recently started to think of as similar to Pete Townshend's windmill arm motion while playing guitar.


――Do you feel like you're playing music on stage? Or is it perceived as art?

WadaWe do everything possible with the obsolete medium of reel-to-reel. That's how it started. The initial motivation was artistic, but now it's combined with a musical sense of exhilaration. When that becomes one, we seek something that is music but also incorporates non-musical elements, something that can be 'experienced'.

YoshidaWe aim for a wide range, without being confined to anything. The fact that it has an artistic aspect and that it can be danced to as a dance track are just parallel characteristics, not limitations. We also do highly experimental things. If there's something we can show through that, we consider it a good thing. We don't limit ourselves. The ideal might be to be conceptual yet easily danceable.

KawakamiI think you'll want to go again after seeing one live performance.

――Do you have any ambitions?

YoshidaWe recently had a listening party, and Kawakami-san attended. The producer's final words were, 'Let's sell it!' So, we have to work hard to sell it (laughs).

――Thank you very much.


Open Reel Ensemble
Formed in 2009, centered around Ei Wada (left photo), with members Kosuke Sato, Takumi Nanba, Yu Yoshida (center photo), and Tadashi Yoshida. It's a project that docks old reel-to-reel magnetic tape recorders with modern computers, playing them as 'instruments.' By manipulating the rotation and operation of the reels by hand or computer, they create music through ensemble using sounds recorded on tape on the spot. Their live performances have received high acclaim, appearing at Sonar TOKYO, Sense of Wonder, KAIKOO, BOYCOTT RHYTHM MACHINE, and more. Internationally, they have performed at SONAR 2011 Barcelona and ARS ELECTRONICA (in Linz, Austria).

Open Reel Ensemble 1st Album Release Tour Final! "Set the Brand New Tapes!"
Date: Saturday, September 8th
Venue: Shibuya WWW
Time: Doors open 15:30 / Performance starts 16:00
Price: Advance ¥3,000, Same-day ¥3,500 (tax included / separate drink fee / all standing)
Guest: Etsuko Yakushimaru
*Student discount available with a ¥500 cashback.
Please present your student ID at the reception.
http://www-shibuya.jp/schedule/1209/002442.html

'Open Reel Ensemble'
Released June 27, 2012
CD & DVD [2 Discs] ¥3,500
http://www.steamblue.net


Shun KAWAKAMI
Born 1977 in Tokyo. Representative of artless Inc. An artist and designer active primarily in Tokyo. Founded artless Inc. in 2000. His work spans a wide range of fields, including graphics, interactive media, video, installations, and spatial design, approaching from both art and design perspectives. He works globally, both domestically and internationally. http://artless.co.jp