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Kaiho is a rare breed in Japan, a gem among pebbles. He's one of the few people in Tokyo who not only has made it his life's work to explore the fringes of Western and Japanese music, but he's aiming to bring them closer together—or at least spark a greater dialogue between the two. The cultural trailblazer is embracing the positive aspects of globalization by looking for connections and complements among disparate places. There's so much good music being made around the world, but even in the age of the internet, sometimes you need a sheep herder to get it into the right hands. VICE sat down with the man bringing left-field techno to Tokyo to discuss the story behind his multi-functioning Melting Bot, as well as Japan's rich history of avant-garde music scenes.Read on THUMP: Planet Mu's Mike Paradinas on 20 Years of Flawless Tastemaking
Shimpei Kaiho: I didn't intentionally set out to orchestrate some big gesture. When I started out, there were a lot of good labels that I really liked that weren't getting any placement here, so I reached out and asked to re-issue and distribute various records. Over time, the work continued to compile and the identity of Melting Bot expanded. At the start, to be 100-precent honest, I was just serving as [label] Planet Mu's agency in Japan. I didn't really think about Japan's relationship to the global underground music scene, most likely because I was still deep in the local side of things.
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Just over ten years ago, I was living in England and studying at university in Liverpool. A friend turned me on to Boomkat right when it started up. Then there was Bleep, Warp's digital distribution service that started just after. I was perpetually checking these two sites that covered a lot of this left-field stuff. However, Bleep and Boomkat tended to focus on England and Europe, while America was pretty underrepresented. A friend and mentor in Tokyo who ran a label called Moamoo—which was a progenitor of Melting Bot in that it distributed Japan-only editions of releases from lesser-known foreign labels—eventually started talking about this current of independent music in America. Partially because of him, I came to know about these new US sounds in the latter half of the 2000s.
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Plummeting might be a better word [laughs]. I'm on the ground you know, so I can totally appreciate the scope of that drop. When I first started Melting Bot… Well, I can't say the exact numbers, but basically our sales are practically a third of what they used to be, and continue to drop with increasing speed.In the face of that reality, how do you see Melting Bot surviving?
One thing is pushing back to the outside: Not only importing sounds from outside Japan, but also exporting the local sounds outside the country. I think this is something Melting Bot is capable of doing. Then there is the event that I do through Melting Bot called Bond-Aid. I think out of everything I do, Bond-Aid is the most important.What exactly is it?
Around three years ago, I started thinking that the real value from the local scene was in live performance and that direct exchange. I really need to start organizing an event. Little by little, I started hosting this Bond-Aid event. This became Melting Pot's direction, using the event as a preliminary step to then distribute foreign artists' CDs and doing their PR in Tokyo. The next event, the seventh in the series, will feature Inga Copeland and Lorenzo Senni. The name itself references the idea of aiding the bonding process among disparate creators and packaging it all together as one unique type of content. It takes the jumble of artists and ideas that comprise Melting Bot, and connect the dots as a live experience.
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That's tough to answer. I think the world, generally, values Japan's avant-garde output over its pop. Today, the artists are spread out, and even in Tokyo these tiny scenes exist in a vacuum. Every major city in Japan has an underground music scene, but we're talking crazy small ones, collections of 30 to 50 people.I don't think decreasing is the right word; I think they are way more scattered. There are more creators now than there were before, due to the internet, but if these pockets of culture aren't directly tied to your personal circle, it's like they don't even exist in the physical world.Do you attribute this to the local cultural traditions? That people don't push themselves out there and keep things to themselves?
In the past, the process of putting out a record almost by default meant that you had to connect with someone. The same for events. Now, with Soundcloud and social media, maybe you don't need an in-person connection for your music to be published. Events too have fallen under a similar light, with way fewer people are coming out than before. In the past you had to go to a club to hear a DJ mix, but now the net offers a bounty to that end, so maybe people here are just satisfied with that because that in itself is fun—like there is no need to experience something directly in a spatial sense.
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Yeah, totally huge. But when I started Bond-Aid, the thing I thought was exciting was how, rather than just releasing something from abroad, creating a kind of content that was truly unique, really taking the local and the foreign and bringing something new into existence was the most interesting part of organizing this type of event for me. Something truly original, that really only happens there at that location. That to me has a very real social value and real meaning, and that translates to attendance.
As someone who is trying to make a living off of this passion, it's a matter beyond me wanting to do this, to promote music and put on events: It's a matter of needing to. I think if I didn't have this, I would live a much lazier existence. That necessity to keep pushing forward wouldn't be there.Even for me, trying to make music a business doesn't sit as the best scenario, especially for independent music. I used to be opposed to the idea of existing off of money made through music, but then I reached this dramatic point where I thought, if I don't do this I'll die! You know, that leads you to listen to a ton of music, more than anyone normally would listen to. It leads you to dig deeper and connect with everyone.Follow Kareem Kool on Twitter.