Interview: Miroque (ミロク)

As I’ve shared before, I often feel blessed to have a platform that allows me to (perhaps) introduce new artists or concepts to the world. When I listen to Miroque’s music, I feel a sense of lightness—a breath of fresh air that reminds me why music holds such a profound place in my life and when I put words on record, it’s to share such feelings with others. So, when I consider what I should dedicate myself to introducing or reintroducing into the world, my mind turns to artists just like her.

Miroque’s music has always occupied a space that feels uniquely hers. Though it seems influenced by minimal techno, jazz, and other experimental music, texturally, through her eyes, ears, and fingers, it moves somewhere else entirely–radiating a gentle energy, full of tonalities and musicality seemingly drawn from nature and other esoteric inspirations. The closest analogs I can think of are the environmental music of Hiroshi Yoshimura and the ethereal ambient spirituality of someone like Toshimi Mikami. This is music that exists far from an aesthetic choice or any kind of pretension.

What makes Miroque’s story remarkable is that her desire to follow her own muses now places her outside the much larger nascent Japanese electronica scene. When she released her debut, Botanical Sunset, in 2001, it came out on CD-R—a signal major labels would simply not know what to do with her music.

It would be friends who pushed her to explore her own connection with music who backed her debut. And for those precious few who likely picked up a copy at their favorite Tokyo independent record store, it competed against a sea of better-promoted dance albums that now feel like sonic wallpaper from that era. In the end, the absence of external expectations gave Miroque the freedom to create on her own terms, in a way that stands out mightily from the rest of the bin.

What makes Miroque’s music endure is how deeply personal it feels. She would go on to release all her music independently, founding her own label, Cacha*mai, as a home for her self-created genres—genres like Forestronica, Milanorca (inspired by Moomin animation), and other stylistic ideas that set her apart from the grander electronica scene. Each new release—whether 2002’s Cacha Amusement Land, 2004’s Mimi Koto, or 2008’s Green Anthology—feels like a new side quest waiting to be explored.

What lingers on is what began as a deliberate effort to make music now appears like a labor of love. If you read her interview, Miroque shares how she personally delivered CD-R copies of her music to Tower Records, each disc housed in jackets she hand-embroidered. It’s a thankless job but it’s one she did to keep her music moving. Somewhere, as one hears more of her music, that DIY spirit became even more pronounced in her sound. 

In the end, what lingers, years later, is the deep intimacy between Miroque and her music. At a time when dance music often feels increasingly disconnected, bound to rigid-machine-rhythm, Miroque’s music remains blissfully “off-the-grid.” That’s what drew me to her in the first place and compelled me to dive deeper into her story. And now, I’m fortunate to share my conversation with Miroque with you so that you can weave her music into your world. Here’s hoping someone out there can work with her to reissue her work.

Finally, as always, thanks to Miroque for time and her wonderful music.

[Editor’s Note: You can support Miroque via Bandcamp and  find  more of her work on Apple Music and her contact information via Linktree.]

Miroque (ミロク) Interview 

Diego (F/S): Miroque, could you please start by introducing yourself? I first heard your music through Ryoondo-Tea’s wonderful compilation. Ryoondo-Tea is based in Kyoto, isn’t it? Are you also originally from Kyoto?

Miroque: Hello! Nice to meet you. I’m originally from Kanagawa, but I have a connection with Kyoto and visit there often. Last year, I went to Kurama-dera. Kurama-dera is such a spiritual mountain—I really felt its energy there. Of course, I also love historical places.

Diego (F/S): I’d also like to ask about your life before. What was your everyday life like back then? Daily life in Japan can differ a lot depending on where you live.

Miroque: I grew up in Kanagawa—the prefecture that’s home to Kamakura and Hakone. The area where I lived as a child was abundant in nature; you could see large mountains, and at night, the sounds of frogs in nearby rice fields could be heard. Yet, it was conveniently located near both a train station and a highway—a perfect blend of nature and urban life.

I was raised in a musical environment: my grandmother was an Electone teacher, I learned piano as a child, and I even sang in a choir.

Diego (F/S): Looking back, was there ever a moment when you realized that music would play an important role in your life?

Miroque: Music is like air—it’s always right there with you, like a home ❤.

I’m currently raising children who are 10 and 12 years old, and aside from music, I work as a therapist supporting people’s health and also do design work. I now enjoy the strange sensation of knowing that there are people in a parallel world who listen to my music digitally.

Diego (F/S): As you said you grew up in a musically rich environment—your mother taught Electone, and you studied piano and sang in a choir. Was there ever a time when you stepped away from music? If so, what brought you back or kept you going?

Miroque: Probably when I was raising my child… But even then, music was always close. I’d sing and play music with my child—it never really left.

Diego (F/S): Was becoming a musician a dream you had from the beginning, or did you gradually find yourself on that path? Could you tell us about your journey as “Miroque”? If possible, please also share why you chose the stage name “Miroque.”

Miroque: I received music education from a very young age, but I never really intended to become a musician.

When I was in high school, I used to go bodyboarding in the sea of Kanagawa. After graduating from high school, while attending a university in Tokyo’s commerce department, I worked part‑time at a techno music accessory store and a jazz café, made new friends, and was exposed to a great deal of music.

I started going to minimal techno clubs, and I felt the urge to create digital music, so I began composing with digital music equipment.

When I was around 20 and playing in a band, the members initially considered calling our band “Miroku.” One of them suggested that “Miroque” might be a better name, and so I adopted it. I was also a big fan of Haruomi Hosono’s song “369,” which helped solidify my decision to perform under the name Miroque.

Diego (F/S): I’d love to ask—when did you start recording music? You mentioned storing your work on MiniDiscs, right?

Miroque: Around the early 2000s! I think I saved my work on MiniDiscs and also as digital files.

Diego (F/S): Could you tell us about your early creative influences? Your work exudes a wide range of inspiration that goes beyond just music. Were there any artists or records that helped shape your creative vision?

Miroque: In the beginning, I was influenced by minimal techno, electronic music, jazz, and film scores. I made a daily effort to listen to various types of music. In Ochanomizu, Tokyo, there was a rental CD shop called “Janis” (which no longer exists), where I listened to rock, avant-garde, and many other genres.

In Tokyo, there was also a record shop called Los Apson? where the owner introduced me to a lot of great music! When I went to Kyoto, I often visited Parallax Records.

Diego (F/S): Why did you choose to create techno and ambient music rather than other genres?

Miroque: At that time, club culture was booming in Tokyo. There were techno, ambient, and house music events everywhere, and I was naturally drawn to those sounds.

Diego (F/S): Do other forms of art, such as painting, literature, or film, ever inspire your music?

Miroque: Yes, absolutely. When I experience great paintings, literature, or films, background music flows through my mind—even though that music quickly fades away.

Diego (F/S): There’s a wonderfully delicate, almost textural quality to your music. Your debut album, Botanical Sunset (2001), perfectly embodies what I’m trying to describe—it feels like a sonic getaway. Can you share a bit about the tools or production techniques you use to create such a unique sound?

Miroque: I composed my music using a KORG synthesizer—a model that also supports sampling and other functions. For my debut album Botanical Sunset, Taro Nijikama (owner of 360°Record, selected tracks from a collection of MD recordings I had made, and Kazunao Nagata (owner of Transonic Records, mastered them, resulting in a mysterious and dreamlike quality.

Around 2001 in Tokyo, this type of music was referred to as “Onkyo (sound)”; later, it became known as “electronica.” Underground and hardcore music, as featured in magazines like FADER , was also a hot topic in record stores and clubs.

Diego (F/S): Many people might not be aware, but a lot of your records are entirely self-produced. What inspired you to start your own label, “Cacha*mai”? Did you ever consider signing with a major record label, or were you always inclined toward an independent path?

Miroque: Back then, I was able to sell CD-Rs in major record stores like Tower Records (laughs). I was living a pretty tough musical life, relying on selling CDRs to get by.

I never really thought about signing with a major label. From the start, I felt that the music I was creating wasn’t commercial, so I don’t think Japanese record companies were particularly interested in me. As a result, it wasn’t that I intentionally set out to be independent—it just naturally turned out that way (laughs).

Now, being independent is great because I don’t have to deal with rights issues, and I enjoy the freedom it gives me!

Diego (F/S): When you first started as an independent artist in Japan, what challenges did you face, and how did you overcome them?

Miroque: I never really set out with the mindset of being an independent artist—it just happened that I was in an independent environment. So, I didn’t feel like I faced any particular difficulties. If there were challenges, I guess I just didn’t perceive them as such… kind of like the saying, “ignorance is bliss.”

Diego (F/S): Another surprising aspect of your work is the amount of effort you put into physical releases. I heard that you created fabric-based, handwoven jackets for many of your CD-R albums. Such a tactile approach is quite rare. How do fashion and tactile art connect with your music?

Miroque: They weren’t handwoven, but I did make hand-embroidered jackets and similar designs (laughs). I had plenty of time and enjoyed working with my hands—it was more like a hobby. 

My great-grandfather, Masao Wada, was one of the founders of a fountain pen company (Pilot), and my grandfather was the factory manager of a facility that made maki-e fountain pens.

At my grandparents’ house, there were dolls from all over the world and a general environment that exposed me to beautiful objects. Looking back, I realize that my desire to share Japan’s traditions with the world—like the art of maki-e—comes from this background.

I’d love to be involved in sharing Japan’s beautiful sounds and music with the world in the same way.

Diego (F/S): Have you always been aware that you have an audience outside of Japan? Have you performed live, either in Japan or internationally?

Miroque: From around 2000 to 2010, I played live in various places across Japan, as well as in Singapore, France, and the U.S.

Diego (F/S): I’m also fascinated by your approach to crafting your own unique genres. I’ve heard terms like Forestronica, Cassiopia, Milanorca, Girly Color Electronics, sounds inspired by Japan’s coasts and forests, and Toytronica. Where does the inspiration for these self-made labels and sounds come from?

Miroque: Thank you! I always just suddenly think, “Oh, this should be the name of the song!”—like a shrine maiden receiving a vision (laughs). Sometimes inspiration comes when I’m by the sea, in nature, or playing music.

A spiritual advisor once told me that I was Lemurian in a past life! So naturally, dolphin sounds just make their way into my music. Botanical Sunset was especially influenced by the ocean—sunrises, sunsets, and a deep sense of gratitude. Since it was my first album, no one had any expectations, so I was free to do whatever I wanted (laughs).

These days, I’ve been studying spirituality more, and I feel like I was naturally channeling Lemurian music back then!

Diego (F/S): Your approach to ambient music is unique—it’s not just background music but something more welcoming, familiar, and gentle. It also feels deeply connected to Japanese cultural sensibilities. How have Japanese music and culture influenced your work?

Miroque: Thank you! When I was in university, I studied religious art theory under Professor Shinichi Nakazawa, who was close with YMO.

I had many opportunities to experience Japan’s beautiful traditions—visiting shrines and temples, watching Noh and Kabuki performances. I’d love to think that all of that naturally made its way into my music.

Professor Nakazawa has written books with Haruomi Hosono, and he always encouraged me to seek out and experience truly beautiful things.

Shinichi Nakazawa’s books
Hosono Haruomi & Shinichi Nakazawa – Kankō: Nihon Reichi Junrei

Diego (F/S): Your music also has strong visual and sensory elements. Do specific places, seasons, or personal memories ever inspire you?

Miroque: When composing an album, I close my eyes and imagine the sounds flowing through a beautiful paradise in my mind (laughs). So, it’s not really about specific places, seasons, or personal memories.

Of course, I also get inspired by watching films and visual works.

Diego (F/S): Is there an album or song that you’re especially proud of?

Miroque: Maybe Botanical Sunset ☺️… It’s hard to choose.

Diego (F/S): I was happy to see that you have pages on Bandcamp and YouTube. Does this mean you’re starting to make new music again?

Miroque: Yes. Music is home for me ❤️. When the time comes, I’ll create naturally ☺️.

Right now, I just love spending time with my child ❤️. That makes me truly happy. Soon, when they grow up and start finding me annoying (laughs), I’ll have more time again.

I’ve also always been interested in health, the human body, and medicine. I wonder—could sound help people heal? I’d love to explore that more. I’ve studied vibrational medicine and would love to shape something like music therapy into a real practice.

Diego (F/S): Do you still feel a connection to modern dance music? And do you still take time to discover or rediscover ambient, techno, and house music like you used to?

Miroque: I listen to a variety of music, but I’m not particularly focused on dance music these days. Lately, I’ve been hearing the background music from my child’s favorite game, Minecraft—it’s actually quite nice, haha. I also discover new things through pop music that’s popular among Japanese elementary school kids and anime theme songs.

Diego (F/S): You’ve spoken about the importance of sharing Japan’s traditional and beautiful sounds with the world. How do you hope your music will be remembered and experienced in the future? At the very least, has your family heard the wonderful music you’ve created?

Miroque: It makes me so happy that music I created around the early 2000s can still reach listeners worldwide in 2025. I’m also grateful to meet new fans who have recently discovered Miroque’s music.

When I make music, I always aim for something timeless—something that won’t be consumed and discarded, but will remain authentic.

For example, when the sun rises over the ocean, anyone—regardless of nationality—can be moved by its beauty. Even animals, like dogs or birds, seem to gaze at the sea in admiration. I’d love to create music that moves people in the same way—something that transcends borders and resonates deeply.

And yes, my children seem to like Miroque’s music!

Diego (F/S): Are there any specific creative projects or dreams you still hope to achieve? Perhaps you’re already working on something? I imagine it might be challenging to find time, considering your roles as a therapist and a mother.

Miroque: I’d love to create an album that explores different musical scales, including Japanese traditional scales and sounds from Japanese instruments. Since my work also involves health, therapy, and beauty, I’d like to experiment with healing music—frequencies that help balance the body and mind.

My children will soon become teenagers who don’t need their mother as much, so I’ll have more time again, haha. Whenever the universe calls for Miroque’s music, I’ll be ready!

Diego (F/S): Lastly, what emotions or ideas do you hope listeners experience through your music?

Miroque: It’s great to listen with your eyes open, but I also recommend closing your eyes and letting yourself go on a journey through sound ☺️.

And in return, I’d love to hear what you felt or what ideas you gained. Feel free to message me anytime!