One thing I love about conducting interviews is that these kinds of conversations always lead to new discoveries. It’s rare that I share a conversation with an artist I haven’t in some shape or form already introduced to you before. However, Makihiko Araki isn’t quite like any artist. As heard of Eiji’s wonderful mix for this site, on songs like mix highlight: “Jealousy”, you hear that rare artist that points (via sound and music) towards a certain rung of music and a certain discography that warrants more exploration.
My entry point to Makihiko’s music was his debut album, Syber-Beat. Released in 1988, in it on songs like “Poison Dark” and “1999” I heard a certain swagger/verb and a different kind of sophistication I rarely experienced from other artists of the Heisei era. In that late ‘80s to ‘90s transition period, it felt refreshing to hear someone unafraid to mix up so many contemporary styles through the prism of soul music (in an era where so many artists were still looking back or nowhere).
Makihiko would continue on and two years later create his even more masterful, Baby, You Cry. His second for a major label, on it we got to hear songs like “We Don’t Recall” and the aforementioned, “Jealousy”, songs that for me inspired comparisons to the late, great from Paisley Park – high praise from yours truly. The more I put off writing about Makihiko, the more I felt compelled to see where his story went.
It wasn’t until I reached out to Makihiko, trying to tease out some history to share about those albums for Fond/Sound, that a much more inspirational and fuller picture began to fill itself out. Thankfully, for us, as Makihiko took the time out to answer all the many questions, he began enlightening me with a story that took him from singer to actor, and into a whole bunch of other brilliant music (culminating with 1995’s, Real, by his own account, his masterpiece). It’s a conversation that would lead into his other projects and collaborations, all the while detailing an artist unafraid to chart his own course.
For those interested in what else Makihiko is up to, you can follow him on Instagram and X (@arkmaxico) and online. And for those interested in listening to Makihiko’s albums, all his solo records are now easily available to hear on your preferred streaming service of choice – Apple Music, YouTube Music, etc. As for now, let’s take it from the top…
Makihiko Araki Interview
F/S: I understand that you were born and raised in Saga Prefecture. How did your upbringing in your early years shape you into the creative individual you are today, and how did it influence your relationship with music?
Makihiko: My childhood home in Saga was surrounded by nature in a flat area with nothing obstructing the sky. I can say this: I grew up directly experiencing the beauty of nature. That environment enriched my sensitivity, which I find to be very effective for any human.
F/S: What prompted you to pursue music? During your formative years, what kind of music captivated you?
Makihiko: I realized I had a special aptitude for music around the age of five. However, it wasn’t until I was fourteen that I actually wanted to pursue it. I felt a tremor of impulse when I saw some friends playing the guitar. I was eventually invited to join a band as a vocalist. At that time, we were a typical cover band, playing songs by artists like KISS and Deep Purple. I later bought an acoustic guitar for 3,000 yen and practiced by forcefully fitting a Stratocaster tremolo arm into it.
F/S: In the album cover photos, you are often seen with a guitar. What is the connection between your guitar playing and the guitar itself? Firstly, why did you become a guitarist?
Makihiko: Yes, originally, I wanted to become a guitarist. Although I was good at singing, I didn’t feel suited to sing and be in the spotlight. While attending a boarding school to prepare for medical school, I tried to secretly take an electric guitar from my parent’s home but ended up being hit by a car. Somehow, that electric guitar became shattered instead of me. This incident, you could say, further pushed me towards aspiring to become a professional guitarist. However, when that dream began to take shape, I heard a voice in my heart saying, “You should sing.” All this is true.
F/S: Your debut single, “1999,” marked the beginning of your solo career. Could you share the story behind the decision to pursue a solo music career at that time? Additionally, were there any influences from Prince’s albums or songs on this track?
Makihiko: After coming to Tokyo, I played in amateur bands for a few years, but many members left due to job changes, etc., so I chose to go solo. At that time, I was already engrossed in recording at home, so I made demo tapes and promoted myself. Initially, I got an opportunity by getting my music heard by a commercial music production company, leading to job offers. With a good reputation, several debut offers surfaced, and eventually I signed contracts with both Warner and Kitty. I am certainly influenced by Prince and love his work. There are also songs on the album that reflect that influence. Although the title of the debut single, “1999,” is related, there was no specific intention regarding the song itself.
F/S: Cyber Beat seems to have been a significant milestone – you signed with a major label, and various music videos were produced. Can you tell us about the creative process and inspiration behind this album? Were there expectations for sales and other goals that had to be achieved?
Makihiko: Cyber Beat can be considered a reproduction of the demo tape that became the starting point for my debut. Ideally, I should have improved the demo tape further, but at that time, Mr. Fukagawa, the producer, highly appreciated the completeness of my demo tape, including its simplicity.
I was allowed a lot of freedom in the recording process. So, I could create it without embellishing myself at that time, and without being influenced by someone externally. I am grateful to Mr. Fukagawa for that. As for inspiration, the theme was the “near future,” a vague concept. All the songs were created when I was 23 to 24 years old. The goal was to sell one million copies, but it fell far short of that (laughs).
F/S: Your early music was clearly different from the styles many Japanese artists pursued at that time. What drew you to the fusion of these ideas, and how did genres like soul music, rock and roll, and jazz specifically influence your musical style?
Makihiko: I was just trying to create the sound I wanted. It’s still the same today. However, the fusion of various music comes from the parts of the music I’ve listened to that have stuck in my mind. But if I were to analyze myself in an easily understandable way, I think it might be because I immersed myself in the Japanese guitarist: Kazumi Watanabe. In high school, although I had many favorite artists, he was the only one I listened to intensively enough to go and get his autograph.
F/S: Are there any artists, musicians, or actors who have had a significant influence on your career and artistic style? How much did Japanese musicians from the same period influence you?
Makihiko: As mentioned earlier, Mr. Watanabe is at the forefront. Then there’s Prince, Trevor Horn. I also think there was an influence from Tatsuro Yamashita in Japan, but that was more about the works completed by the musicians around him.
F/S: Your early music often included elements of a cappella. What factors attracted you to this vocal style, and how did you incorporate it into your work?
Makihiko: It’s related to the earlier process of making demo tapes. I started enjoying solo multitrack recording from the age of 21, and it all began from there. While layering instruments is fun, the joy of layering one’s own voice can only be experienced through recording, so I became addicted to it. Since I attended church, I was drawn to the beauty of overlapping voices from a young age. Apparently, my voice has many overtones, and when layered, various harmonies can be heard. In the early works, including those provided to others, choruses were quite important. I often wonder how many voices I recorded in total.
F/S: In the 1990s, Baby, You Cry shows a more refined evolution. What factors contributed to the sound evolution of this album?
Makihiko: I think it was released in 1990, right? I believe this was because the experience from the first album emerged all at once. From this point on, I started using not only the studio but also a personal Macintosh computer. At that time, Macs still had black and white screens, and I used a Macintosh SE at home, where I created most of the songs for the second album in just two weeks.
F/S: I am a big fan of tracks like “Jealousy” and “Joy” from that album. Could you share a bit about the production of these tracks?
Makihiko: “Jealousy” is a personal favorite of mine as well. At that time, there weren’t many songs in Japan using enveloping synth pads. The simple guitar in it also relied on exquisite rhythm timing. I remember well that we were at Izu Studio when we tracked it. The excitement didn’t stop until it was completed.
For “Joy,” I used less commonly used Yamaha equipment and mixed in analog synths to create the bass sound. At that time, I spent a lot of time working to give originality to the synth tones.
F/S: Karajan, temporarily, appeared like the last record you released as a solo musician. How proud were you of this album? What happened in your career after its release?
Makihiko: No, that was the last one released by Warner. After that, I released the single “Tears” and the album Real with Kitty Records. For me, Real is the best album and the last one with a major label. Karajan was actually born amidst various conflicts, including with my environment, so it’s still an album full of many regrets for me. However, it’s something that could only be done in its time.
It’s understandable if you’re not familiar with Real. Kitty Records was in a terrible situation as a company at that time. When my album was completed, there was no room for promotion, and the press run was only a few hundred copies. It was quite a masterpiece for me at that time, so it was frustrating to go through it. Therefore, it was a very joyful event for me when it was recently decided to be available for streaming.
In the year following the release of “Real,” I left Kitty, signed with I NOKS, and debuted as a unit called “Rie Scramble.” It was a brief moment, but we gained attention with “文句があるなら来なさい!” For the next few years, I couldn’t perform live at all, and my activities as an artist stagnated. After becoming independent, I released self-produced musical works on a small scale and engaged only in activities – such as live performances and via mail-order. “MeGAROPA” and “Elec MAXICO Band” projects were also from that period.
F/S: You mentioned the album Real, right? That’s correct; I’ve only now been able to listen to this album via streaming services. I agree, it’s an intriguing album that truly feels like a step forward from the works of the ‘80s. Songs like ‘Tsukito Roulette’ and ‘Dessin’ seem to be influenced by dance music and more contemporary styles. Could you tell me more about this album? What makes you proud of it?
Makihiko: From my debut until now, I think this is the album I can be most proud of because I finally expressed the sound I wanted at that time. The album is complete as a whole. However, I believe the charm of each individual song is not easily appreciated, especially in the context of Japanese music. I remember being told by the promotion director at the time, “Do you think it will sell?” in a surprised tone. Of course, I didn’t think it had to sell. I just created something I found wonderful.
Regarding the sound, there were articles like “Araki did house music,” but I had no intention of doing that at all. I don’t even know what house music is in the first place. People who think it’s natural to imitate something won’t understand, but if you’re making electronic music, you’ll inevitably reach that sound. I was dissatisfied with the world that classified and evaluated everything.
Looking back, I think I should have used more live elements, but I did well at the age of 30. It’s a mature sound, haha. By the way, as a feature of this album, all the songs are tuned to 435Hz (usually 440Hz), so it has a slightly relaxed feel. I think that’s one reason it feels mature. I feel that this album successfully balanced the explosion of passion and intelligence. I am grateful that it was all done in the era of music studios.
F/S: You have been involved in various theater productions. Do you have favorite stage roles or performances when comparing live theater and music performances?
Makihiko: I never thought I would do stage theater. However, what needs to be considered in theater and music is the same. After realizing that, I felt that theater is a second place where I can have fun, or rather, a place where I can express myself.
Although I participated in commercial theater on large stages, the most enjoyable one was the musical theater “Roba-kun and Pony-chan,” written and directed by Akira Momoi. I put music to Momoi’s lyrics, sang, and performed a play with only two people, a woman and me, on a bed.
Even though the stage was only one room, it was a very enjoyable play that didn’t bore the audience until the end. The audience seemed very satisfied. It was a special production where my character was fully utilized, which I am very grateful for.
F/S: Your career has seen changes in musical style and collaborations. In your artistic journey, what do you consider specific turning points or decisive moments?
Makihiko: The changes perceived by listeners and those I feel in myself may not align, but in my view, the first was during Real, and the second was during Letters. Especially concerning Letters, the existence of God played a significant role. Not in a religious sense, but from the realization that our existence and everything are deeply connected, and that it comes from a large, singular truth that is not a coincidence.
Music is something given as a special ability only to humans. If you boast about yourself, excluding the connection with God, you will perish no matter how much worldly glory you receive.
F/S: It’s interesting that you were involved in the 3D sound production for an exhibition by San Francisco architect Shin Takamatsu. Could you tell us more about this unique project? Also, how did you approach producing music for 3D visuals?
Makihiko: At that time, 3D videos were very rare, and efforts were made to make the sound 3D accordingly. However, when actually creating sound, we could only work with 2D, so we could only imagine. The music itself was still techno-oriented.
For the ending song, I wrote English lyrics with the help of an American woman, and during recording, I received very detailed pronunciation guidance. The guidance was quite strict, I remember. (laughs) Personally, it remains a favorite song of mine.
F/S: You were involved in projects related to sports events and the 2002 FIFA World Cup. How did these opportunities arise, and what were your impressions of participating in such large-scale events?
Makihiko: Unfortunately, I have no interest in watching sports myself (laughs), so I don’t remember which songs were associated with which events. I don’t have some of the materials on hand, so I’d like to listen to them now. At that time, I think there was some connection between my management company Kitty and soccer. Also, individually, I had two CM music projects related to soccer. At that time, videos requiring fast-paced music (for soccer, cars, etc.) were frequently assigned to me.
F/S: How has your creative process changed from your debut in 1988 to your most recent work in 2019?
Makihiko: I’ve covered this in the previous explanations, but I think the process of creating is basically the same. There’s a switch that turns on when creating. Of course, there are melodies that come to mind even if you don’t intend them to, but eventually, you have to organize them, and that’s when the switch turns on. Lately, when doing a take during a live song, that switch turns on. That’s the switch given by God. That’s why I’m not successful! (laughs) I won’t explain the meaning of “that’s why” here, as it takes a long time.
F/S: You’ve been involved in music production for various artists and the creation of various soundtracks. How does the process of creating music for others differ from producing your own albums?
Makihiko: The basic process is the same. However, there’s always the awareness that the artist will sing somewhere, so the result ends up being a bit different. There are various other requests as well. Creating works for others is a learning experience.
F/S: Your career encompasses a wide range of commercial works, from CMs to soundtracks. Are there any particularly memorable projects or collaborations?
Makihiko: Mostly, all of them are unforgettable because everyone works hard. However, CMs for Mazda LANTIS and Four Roses Black left a deep impression.
For works provided to others, I remember projects where I was involved in the entire album, such as with Toshihiko Tahara, Hiroko Kasahara, Akane Ikema, and also one-shot projects like with Char and Amazons. I liked the two songs for Takashi Utsunomiya as well. There are too many to list them all.
F/S: Your transition to acting began in 2013. Could you tell us about the challenges and rewards of balancing both music and acting in your career?
Makihiko: Balancing isn’t difficult, I think. As I mentioned earlier, music and theater are similar. However, you need to be mindful of how you use your time. When I start doing theater, I end up doing it all day, so on that day, I can’t do music. In the first few years of starting theater, the time for music was indeed reduced. Recently, I’ve become able to use my time efficiently for both. The good times for blind practice for both are over, and I think I’ve come to practice to make the performance better. If the performance isn’t good, it’s meaningless.
F/S: After various music projects, you returned to solo activities. How did you approach your solo career after these diverse experiences?
Makihiko: I think the time spent for others is finally being utilized for myself. However, it took too long (laughs), but I’m still going. Utilizing my voice and imagination for myself!
F/S: Could you share details about your upcoming plans, such as music releases or acting projects?
Makihiko: Next year, in 2024, I plan to release a new album. The goal is October. As an actor, I will continue training and slowly wait for opportunities.
F/S: Finally, based on your extensive and diverse career experiences, if you could offer one piece of advice to young musicians or actors, what would it be?
Makihiko: Let’s fully utilize the inherent power in humans, and let’s create by facing our true selves, including ugliness and honesty, and not just the surface – whether in music or theater! Doing everything else just the same.
[Editor’s note: Huge thank to Makihiko for his time. This email was translated from a Japanese conversation into English.]