15 years can fly by. Yet, 19 years can seem like a blink. You see, it was in fact 19 years ago — if one can completely trust the internet — when a germ of a thought and of a vision was being created, one piece at a time, when Ricks and April were hand-painting and hand-numbering each copy of what would be KITCHEN. LABEL’s first release, 2004’s The Ghost Of Things as ASPIDISTRAFLY.
What was then a labor of love: to begin their own record label in their homeland, Singapore. To release their own music, with full control of their evolving vision, grew to become something else. KITCHEN. LABEL began to be a place where other forward-thinking artists from Japan, Singapore, and parts further placed, like haruka nakamura, Meitei, Kin Leonn, and Hiroshi Ebina (to name precious few) could explore their own roving inspiration.
It had been months ago, I’d asked Ricks Ang to rejoin us, to share a new mix touching on what he’s been up to, since the first time we caught up. Thankfully, for us, this ask came during a time of welcome reflection.
Ahead of KITCHEN. LABEL’s anniversary show in Shibuya WWW, in Tokyo, Japan, I spoke with Ricks Ang about 15 years as being both label head and part of duo, ASPIDISTRAFLY.
Ricks Ang (Kitchen. Label) INTERVIEW
F/S: First off, as part of ASPIDISTRAFLY, how does it feel to finally perform the songs from Altar Of Dreams in front of a live audience?
Our album landed right as the pandemic’s grip was loosening, but still making touring near impossible. We always sensed something missing — like the album’s soul remained dormant without its live expression. Strangely enough, it took a few good friends, yourself included, to shake us awake. So, after a six-year hiatus post-pandemic, we finally convinced ourselves to break free from our live performance slumber. It feels a bit like a musical renaissance for us.
F/S: What kind of preparation or surprises do you have in store for those who attend? The 8-piece ensemble you’ve chosen to accompany you sounds quite impressive.
This time around, the songs will bloom into their full glory with the support of our ensemble. It’s a special shift for us as we typically perform as a duo with a more stripped-down sound. Working with the studio maestros, Kyo Ichinose and Seigen Tokuzawa, during the album’s recording was invaluable. But what really completes the circle is the addition of Shione Yukawa, a Japanese folk/pop artist we’ve long admired. To us, she’s the O.G. ‘mori-girl’. Yukawa will support us with classical guitar this time. She’ll also harmonize with April, lending her vocals to the mix.
F/S: I believe for your upcoming concert in Tokyo you’re also using this performance as a celebration of KITCHEN. LABEL as a record label. What does 15 years of its existence mean to you?
When we first began, there were just a few of us — kindred artists who didn’t neatly fit into any predefined category. We were pegged as part of the ambient community, carrying subtle hints of pop sensibility but eluding a comfortable place within mainstream conventions. At times, we’ve been categorized under genres like New Age or healing music, yet our inclination toward experimentation often propelled us beyond these classifications. We’ve often found ourselves navigating between genres, but eventually found our true home within our label, where we could carve out our unique musical niche.
Over the span of these 15 years, everything has gradually come into focus, and we’ve finally grasped our purpose and identity. Artists such as haruka nakamura have emerged as esteemed composers in Japan, while Meitei is spearheading our label’s second-generation wave. What’s interesting is that their albums can now be found not only in the New Age or Ambient sections of Tower Records Shibuya but also displayed in Rock/Pop and even hip-hop sections, symbolizing the unique nature of our musical landscape.
We might not be a giant in the record label realm, yet reaching this juncture fills me with immense pride. Now, the challenge is to sustain this journey for the next 15 years and beyond.
F/S: You’ve discussed the evolving music industry landscape. How do you see the role of technology and digital platforms impacting the way artists and labels (yours included) connect with their audience and distribute their music? Are there any challenges or opportunities that stand out to you?
In the realm of our industry, issues such as rising manufacturing costs, ongoing debates on digital royalties, and the challenges of shipping and distribution are well-documented challenges faced by every record label. However, my perspective has evolved recently, particularly due to the overwhelming proliferation of digital streaming and social media platforms. It’s as though we’ve become captives of these platforms; if one platform should falter, there’s no guarantee our existing audience there will seamlessly transition to another.
While the current digital landscape presents opportunities and it has broadened our reach, it’s essential not to lose sight of the more tangible elements: fostering genuine connections with our audience through live shows or events, releasing music in physical format, and simply engaging with life. It’s an environment of constant flux, demanding perpetual adaptation. However, I firmly believe that consistently creating excellent music remains our anchor amidst this uncertainty.
F/S: The past year for the label has been punctuated with reissues of earlier works by Meitei and cassette pressings of works by Kin Leonn and Hiroshi Ebina. What kind of undertaking was that like for you? I can imagine revisiting such works stirred something in you as a label head.
There was this spark ignited by Meitei’s Kwaidan missing out on touring opportunities due to the pandemic. We hit a point where everything felt like it had been frozen in time. We came to this realization that Kwaidan, despite its considerable acclaim, never had the chance to embark on a tour. It’s been five years since its release, so it felt like the perfect moment to pair it with a long-overdue tour.
Additionally, Hiroshi is carving his path into the music scene in Japan. He was on the brink of opening for Khotin of Ghostly International, and that led us to do a small cassette reissue of his past two works with us. It’s all about seizing the perfect timing.
F/S: How excited are you to premier new music from KITCHEN. LABEL like artists Meitei and mark the debut of new members such as Kin Leonn and Hiroshi Ebina?
I’m genuinely thrilled about these artists as they epitomize the future trajectory of our label. Kin Leonn, being the youngest member of our roster, is a remarkably prolific and sought after producer, having recently co-produced yeule’s latest album softscars on Ninja Tune. Despite his relatively young age – still being in his twenties – he embodies a lot of the qualities that define a KITCHEN. LABEL sound.
What also struck me was the mutual respect shared between Japanese producer Meitei, Hiroshi Ebina and Kin Leonn, despite their vastly different sounds. It’s like, despite the diversity in our musical styles, there’s this unspoken connection. We often discuss how our inner landscapes seem to resonate despite our diverse external surroundings and backgrounds. It’s a concept very close to our hearts, one we often hold in high regard and cherish.
F/S: As both a label head and an artist, how do you balance the responsibilities of running a record label with your creative work? What strategies have you developed to maintain this balance effectively?
Since some time ago, April has taken charge of ASPIDISTRAFLY, and I’ve become more invested in running KITCHEN. LABEL. We both decided to step back from our initial roles to focus on different aspects. Juggling multiple roles can be quite challenging. It’s truly impractical for the both of us to take the lead for both the band and the label simultaneously. The current balance actually suits our creative roles and responsibilities better.
F/S: Can you explain the importance of Japan itself in your life or creative sphere?
I’ve often pondered whether those outside our realm, particularly East Asia, can truly grasp the intricacies of the oriental mind, including ours. It’s a balance between not exaggerating or diminishing Japan’s significance in our creative world, as it’s deeply interwoven into our lives — our art, pop culture, films, fashion, and more. This isn’t just about us from Singapore; I believe this sentiment echoes among creatives in the whole of East Asia.
Perhaps, our connection with our own Asian values and the influence they’ve had on us inevitably intertwines us with Japan in various ways. It’s a fascinating interplay that shapes our creative landscape, influencing us to varying extents and leading us to find common ground, one way or another.
It dawned on me at a young age that some of the biggest hits in the thriving ’80s-’90s Mandopop scene were actually renditions of Japanese songs. I encountered Chinese-City Pop songs first that turned out to be covers of the Japanese originals, offering me an insight into the cross-cultural influence between these musical spheres. My early childhood was also all about diving into the manga, “Gegege no Kitarō” and “Dragon Ball” which is this wondrous collision of Japanese and oriental tales, weaving this surreal world. It was a mesh of familiarity and strangeness that left a lasting impact on me.
But, it all started seriously with the Japanese pop music I got into during my teenage years. It’s crazy how it still resonates with me today — those early Spitz, Luna Sea, their music and visuals. And then there’s the art and design — Rinko Kawauchi, Harata Heiquiti, and Hideki Nakajima. These early influences, they’re the architects of my creative world today, kind of like the seeds that sprouted into where I am in my headspace now.
F/S: It’s been nearly a year since F/S readers heard from you. Is there anything you’ve been up to that you’d like to share?
Recently, we went back to Tokyo to witness firsthand how they’ve evolved since the pandemic. It was an immersive experience, taking in the changes and nuances. After soaking up all that energy, we returned to Singapore, inspired to rework our planning boards. This shift led to the exciting prospect of a series of upcoming shows in Tokyo this November as part of our 15th anniversary of the label and, looking ahead, we’re also sketching out a continuation of the celebration with other members of our artist roster in early 2024 too.
While I have a soft spot for acoustic guitar music, drawn to artists like Phil Keaggy, Ralph Towner and Masami Satoh, we’ve recently expanded our label’s spectrum by welcoming a young Berlin-based guitarist, Tobias Wilden. Interestingly, he’s already gathered quite a following in our circles. There’s something about Tobias that exudes a George Winston-like quality. His popularity here roots from resonating with the Japanese love for tranquility, nature, and the changing seasons. His album is scheduled for release next year.
F/S: How has your connection grown or evolved with your earlier work, A Little Fable? Does Altar Of Dreams still feel fresh to you?
It’s amazing how A Little Fable seems to resonate strongly with our listeners, and I’m truly grateful for that — it’s become one of our most beloved works. Strangely, it took us about 5-10 years post-release to fully grasp the album’s journey and evolution. As for Altar of Dreams, it’s still a bit early to discern its impact and meaning for our audience. When we were working on A Little Fable, concepts like “Cottagecore” weren’t even in our realm of awareness. So, who knows, maybe in due time, the story around Altar of Dreams will unfold.
F/S: Not to be missed are also concerts that are going to be held by Meitei and Kin Leonn, as part of Ambient Kyoto. Can you tell us a bit more about this event held just a bit after your live revival?
We were actually planning to extend our label’s anniversary celebration with an event in Kyoto. We had intentions to discuss it with our organizing partner there when a pleasant surprise came our way. We received an invitation to participate in the Ambient Kyoto fringe live event before we could even initiate the conversation.
We all heard about last year’s Ambient Kyoto event, particularly the Brian Eno installation, so you can imagine our excitement and honor to be asked to be part of this year’s lineup. It feels incredibly validating that our contributions to the Ambient community in Japan are being acknowledged.
F/S: Where do you see KITCHEN. LABEL or ASPIDISTRAFLY heading towards in the near future? This can be creatively or otherwise.
When I founded the label, my core aim was to sustain its presence while preserving our original roots and musical ethos. Forecasting the label’s existence for more than a decade or two appears challenging amidst the ever-changing landscape. Observing the various trajectories and lifespans of influential labels like Music Interior with its defining four albums, the decade of Windham Hill, the enduring success of ECM, and the pioneering influence of SM Entertainment in the K-pop movement, prompts reflection on our label’s narrative and the path it will carve in the industry.
Describing our sound’s essence during our initial phase was a complex task. However, as the label continues to grow, there’s a gradual clarity emerging, whether in our sonic landscape or the design of our album sleeves. Looking ahead, our path might hold a degree of consistency, yet a continuous thirst for evolution remains an integral part of our journey.
When it comes to ASPIDISTRAFLY, the future remains somewhat uncertain. Our upcoming show in November might signal our final performance, or perhaps it won’t. The next album could materialize in the coming year, or it might take another decade. The reality is, much of this journey relies on the creative impulses of my partner, April. Her enigmatic qualities often play a fascinating role in shaping our path forward.
F/S: Finally, I should ask, what were you going for or what’s the influence present in this latest mix for the site?
Reflecting on this interview, I’m struck by the vast difference in our sphere of influence compared to Western perspectives. I admired the mixes Eiji Taniguichi and Endy Chen crafted for FOND/SOUND too, and I believe they showcased this concept in their own way. So, being able to follow that up with another mix here is both thrilling and a real honor for me.
This journey took me back to my early days, a time when CDs and also P2P softwares like Soulseek ruled the late ’90s and early 2000s. It was during these years that I sifted through discs and mp3s, instead of vinyl records, that deeply influenced and shaped the ideas I hold till this very point. As some might know, the name of my label is inspired by Banana Yoshimoto’s novel Kitchen. The novel’s magic realism and surrealism deeply inspired me, sparking a desire to translate this concept into a musical genre, which ultimately led to the label’s inception.
Magic realism, as I see it, delves into the microscopic rhythm of life, intertwined with the complexities of melancholic emotions and the mindscapes within our Asian cultures. We all inhabit bustling Asian cities, yet we often yearn for tranquility and peace someplace else. This has always been our fascination — a contrast between magic realism and surrealism, urban and natural landscapes, nostalgia, and dreams of a futuristic world. In music, particularly in my interpretation, it might manifest as the infusion of ethereal or otherworldly tones into the fabric of ordinary and natural sounds, creating a sense of wonder and rekindling lost moods within the listener.
For this mix, I curated a selection of tracks that juxtapose these thoughts, some of which were instrumental in fully realizing these concepts from the start, while also paying tribute to FOND/SOUND. The mix spans from Asian to J-pop, and J-New Age, primarily from the late ’90s to the early 2000s, woven together with some of our most recent label releases from both Singapore and Japan.
(Editor’s note: I’d like to thank to Ricks, once again, for sharing his time with us. For those interested: you can find him here and KITCHEN. LABEL online.)
GUEST MIX BY RIcks ANG (Kitchen. Label)
Tracklist:
Paradox (夢劇院) – 白河夜船組曲/ 第一部/ 河、船、逆流 (Rock In Records)
Yoko Kanno (菅野よう子) – トライフルソング (Red Alert Records)
Yoh-Chu-Sha (幼虫社) – 船出 (Club Lunatica)
Nekomatsurihime (猫祭り姫) – 貝 (Not on Label)
Nakada Satoru (中田悟) – Sound Document IV / 1994 Nagata River (Prem Promotion)
Malaysian Pale – Oriental Watergarden (Fortuna Records)
Miu Sakamoto (坂本美雨) – aquascape (Ambient) (Warner Music Japan)
Kin Leonn – Lovesong (KITCHEN. LABEL)
Ukiyo-e (浮世繪) – 憂傷的美有誰知？(Cinepoly Records)
TINGARA (天河原) – べーべーぬ草刈いが (Oneness Music Inc.)
Masami Satoh (佐藤正美) – KUMAGERA (KITTY MME)
Toshiya Sukegawa (助川敏弥) – 太陽系/空間 (Victor Entertainment)
Hiroo Muto (武藤祐生) – Coldwater Creek (Imagine Nomade Label)
eisi (映糸) – Cloud, Light, Water (noble records)
ASPIDISTRAFLY – The Voice of Flowers (KITCHEN. LABEL)
Meitei – Hiroshima (KITCHEN. LABEL)