PART TWO INTERVIEW: Unveiling the Universe: A 30 Year Retrospective of Hiroshi Watanabe

photo by HIROSHI WATANABE

INTERVIEW: PART TWO
HIROSHI WATANABE

By Rumen Lasev

Rumen Lasev: In your description on the release of IMMERSED FIELD you say that “The potential of sound and music is much greater than people realize. It has the power to influence people's psychological feelings. The title is the only expression of words, and there are no lyrics in the world of sound.” What do you think is the secret in you being able to tap into people’s emotions that way through your music? How are you able to achieve this without having any lyrics in the tracks? Are you someone that is quite reflective on your own emotions?

HIROSHI WATANABE: There's no particular secret it's more of a mindset, or perhaps an intent behind the music. Since my music lacks words, the question becomes: how can I ensure that the sound truly reaches and resonates within the listener’s heart? In a way, this process involves embedding intent into the music to enhance its ability to permeate deeply. You could call it a concept, but in truth, there are no strict rules no absolute theories that must be followed.

At its core, it's about shaping vibrations that can communicate something on a deeply personal and spiritual level. This is likely something I've unconsciously developed over time, shaped by my experiences, upbringing, and life itself. In classical music, many musicians perform the same piece by a composer, yet some interpretations deeply move us while others do not. What creates this difference? What is hidden within those variations? And what kind of mindset allows a performer to break through that invisible barrier? These are questions I've contemplated and learned from over the years.

In the realm of electronic music, where acoustic expression isn't the primary medium, the possibilities for rich and profound expression are endless. Because this is an exploration with no final destination, I feel compelled to dedicate my life to it. I constantly engage with my inner self, and at times, I intentionally distance myself from music when necessary. This might mean setting aside time to immerse myself in nature or simply being present in everyday life. The act of creating music isn't the only thing that matters life itself is everything.

What do I notice in the smallest moments of daily life? What do I feel? What do I think about the weight and preciousness of life? These are essential reflections, not just for music but for existence itself. And every time I receive messages from listeners around the world people I've never met I'm reminded that making music was truly worthwhile. Music transcends language barriers and, in an almost effortless way, even dissolves borders. I find immense beauty in this simple, unspoken world of either feeling something or not.

Album, IMMERSED FIELD by kaito

Your work seems to very much focus on the things you find beautiful and positive in life and the emotions that go with it. Have you ever thought of making a more somber release illustrating the perhaps not-so-positive aspects and emotions of life that we all experience?

No, my works contain plenty of dark moods, melancholic tones, and pieces that immerse the listener in deep introspection. I'm irresistibly drawn to a world of melancholy and nostalgia I couldn't even begin to explain why. It's simply something my soul craves.

Of course, I also create tracks that embody a very positive worldview. As I mentioned before, I don't compose based on predefined words or imagery, so when a piece naturally emerges with an uplifting energy, I find a title that fits and build a fully positive world around it. That being said, I absolutely love dramatic atmospheres music that touches people's deepest emotions, even bringing them to tears. I suppose I'm the kind of person who seeks moments of emotional impact in daily life.

When I compose, I enter a different state of mind once the switch is flipped, my everyday reality disappears, and I instantly dive into the world of sound. It's almost a kind of natural high. I've never struggled to immerse myself in music; it completely separates me from the real world.

But what I truly want to express is this: Life is full of challenges. No one can be happy every single day. We all experience hardship, moments of pain, the urge to escape, stress from relationships, the struggles of balancing family life, and the difficulties of being a parent. These emotions and pressures are unavoidable. Yet, on an unconscious level, I strongly feel that I don't want to reflect those personal struggles directly into my music. Those experiences are part of my personal growth, necessary for life itself but when it comes to the invisible, immersive world of sound, I don't feel the need to incorporate negativity.

I want my music to naturally blend into someone's life, to be something they can turn to when they need it. Whether they're sad or struggling, I hope my music can either soothe them or give them the space to fully embrace their emotions. It doesn't matter whether it's ambient or dance music genre and structure are irrelevant. What matters is the essence. My theme, at its core, is life itself.

That's why I sometimes use the word “LIFE” in my track titles. To live is to experience the balance of light and dark, joy and sorrow, the ups and downs of existence. Everything is part of the journey. And within the realm of music, I always want my work to be a source of encouragement for those striving to live their lives to the fullest.

In a recent interview with 15questions.net, you spoke about your admiration for nature and how much you enjoy going mountain climbing. In 2020 with the pandemic, I imagine you weren't able to do that much. How did that affect you? Coincidentally, it was also a very prolific period for you, in which you created a lot of nature-focused music like the Summer, Autumn and Winter EPs, among others. Why do you think that is? Do you have a memory of the first time you were able to connect with nature again after the pandemic?

During the pandemic, mountain climbing in Japan wasn't strictly restricted. In fact, it was a time when many people, including my wife and me, deliberately sought out the mountains. For us, those years from 2020 onward were a period of maintaining inner peace and absorbing positive energy with our whole being.

I believe that everything in life happens for a reason, so understanding and sensing what we truly need at any given moment is incredibly important. In Japan, we experienced the Great East Japan Earthquake in 2011. Some of the tracks I released during the pandemic were actually influenced by a journey I took to visit the disaster-affected areas and the emotions I felt there.

Nature can sometimes turn against humans with immense force. But rather than labeling it as good or bad, I see it as something far greater an overwhelming reality that humanity cannot fully contend with. Feeling connected to nature and treating it with respect is fundamental to human existence. And over the past few years, I've come to deeply recognize the unique sensation I experience when I'm in the mountains.

To be honest, I've always found the ocean to be more frightening than beautiful. I can; t explain why – it's just how I feel. Mountains, too, can be dangerous. There are places where one wrong step could cost you your life. Yet, for some reason, I don't feel the same fear in the mountains as I do with the sea. Instead, the vastness of the mountain landscape feels profoundly comforting and filled with energy.

In that same interview, you also mentioned that whenever you “encounter undeniably extraordinary music” you almost feel like you're “confronting nature itself”. You've also talked about your love for the sounds of nature and mountain walks, and your recent work really illustrates your connection with it. What role do you see nature playing in our lives and the human experience as a whole and how does this affect your music?

When it comes to music, having an eye for detail is important, and in a creative sense, it's something I deeply enjoy. However, what I've learned from nature is the ability to step back from those intricate details and view my work from a broader perspective. It has made me increasingly interested in seeing the bigger picture understanding what truly constitutes a greater energy beyond human creation.

The natural world, with its vastness and scale beyond anything mankind could ever construct, provides a kind of energy and inspiration that feels essential not just for life, but for my creative process as well. It makes me think: why is it that in human society, we continue to divide ourselves by nations, race, and other borders, leading to endless conflicts and wars? I imagine many people ask themselves the same question.

Living in the present world, it's impossible to ignore the painful realities happening around the globe. While we can learn a great deal from human interactions, I believe there are just as many valuable lessons to be learned from nature. Everything we experience in life inevitably influences our creative work. For me, an essential question is: *What do I truly want to feel in its simplest form?*

I've never formally practiced meditation, but I believe that interacting with nature offers a similar experience. When I create music, my sense of time disappears. In a way, it feels very much like meditation. I often experience this same sensation during DJ sets and live performances as well. From the outside, it might seem like I'm in a state of high energy, but internally, I often feel extremely calm, as if my consciousness is reaching a higher dimension.

It's a *Time and Space* experience one where, in a cosmic sense, the very concept of time ceases to exist.

Is there a track or an album that you find captures the essence of Kaito or Hiroshi Watanabe the best?

Honestly, I'd say *all* of my releases represent me I put my full energy into every single piece. *LOL* (winky face emoji ;)

And more than anything, I want to keep making music where every track could be considered a defining piece of my work.

In an interview at Ele-king.net you mention that you chose the name of your son Kaito, which means “to solve the mysteries of the universe”. More than 20 years after your first Kaito release, do you feel like you've lived up to the name? Do you feel like you've explained or solved the secrets of the universe?

In Japan, as in many other cultures, names often carry significant meanings. But in Japan specifically, the use of kanji allows for each character to be imbued with a distinct meaning, and there is a tradition of choosing a child's name as a way to celebrate their birth and future.

When I gave my eldest son his name and its meaning, it wasn't out of parental ego or a desire for him to live up to some expectation. It was simply a pure wish for him to live a wonderful life as an individual in this world. There's no need for him to feel the weight of his name, nor was it given with the intention that he must live in a way that honors it.

Giving meaning to something is the same as what I do with music. Once a track is released, I have no control over where it will go or who will listen to it. All I can do is watch from afar as it embarks on its own journey, and that sense of detachment is something I find profoundly beautiful. In the same way, naming a child is a way of entrusting a feeling or a wish to them, much like sending a piece of music into the world.

A name that means *solving the mysteries of the universe* honestly, I'm envious! *LOL* It sounds way too cool. But in the end, all I want for him is to live freely, in whatever way makes him happiest.

Oh, and of course, the fact that I took my project name from his name means it has become deeply intertwined with my own life as well. For that, I'm truly grateful.

Last but not least, it's been a while since your last tour in Europe. Could we expect to see you back again in the near future?

I'm not sure if it will take the form of a full tour, but of course, my music is always reaching out to the world. I will definitely continue releasing music through international labels, so I'm very much looking forward to performing abroad again whether as a DJ or in a live setting. Last year, I had the chance to visit Korea and Hong Kong, and this year, I hope to travel to even more countries. Please stay tuned for what's to come. Thank you!

END OF PART TWO. READ PART ONE HERE

Rumen Lasev is an aspiring writer currently working in music copyright, and studying literature in Berlin. His writing aims to occupy the gaps in art discourse. His latest contributions can be found in the Berlin-based Lärm, and The Sheerness Times Guardian.

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