Akiko Kiyama
The Japanese prodigy of atypical techno unleashes her first album

Courtesy of Op.disc

While on a vinyl hunt for new and original Japanese techno in Shibuya last year, I discovered Akiko Kiyama on UK label Lick My Deck. Kiyama’s Fungi EP was a refreshing, teasing affair of repetitive short, hypnotic loops and intricate, progressive shifts. Several purchases later, and getting word of a first full album, I managed to bag a promo. 7 Years is an assured, trance-inducing minimal techno album with a uniquely wry signature sound, one that’s sure to be heard on the darker, bass-driven, Yellow-esque dancefloors of Europe and Japan this summer. I finally managed to catch up with Akiko in Berlin via email to find out what’s behind her sound…

7 Years is very distinctive. Tell us about your vision and concept of techno.
I don’t want to think about what techno is; I feel strange when everybody says I’m a techno artist. I’m not interested in what style I’m making, but I can say it’s interesting for me to listen to music made differently to mine. There is no clear start and end in some music. I liked rock a lot before, but I think techno is totally opposite. It’s not the music itself—it’s the message, character and spirit that’s different.

What about 7 Years’ creative process?
[7 years] is my first album, and putting it together was really just like my usual life: having coffee, taking a shower, going shopping. I’d feel a bit strange if I had a big concept… I didn’t want to make something limited. I was loyal to myself and music, always thinking about where the sound wants to go. I felt like I was outputting something from my body. I tried not to lie, but keep it really personal. That’s what I’ve been doing for seven years.

How did Fumiya Tanaka’s label, Op.disc, find you?
You know, one of my favorite parties in Japan is CHaOS by Fumiya Tanaka. When in Japan I went almost every time… I started to play live in 2003 and often met people from Op.disc at clubs. My first contact with Fumiya was when he played my first single on Sud Electronic, somebody introduced me to him, and then I kept sending demos.

How is it as a Japanese artist breaking the European scene?
I’m now living in Berlin, and most of my gigs are in Europe. It depends on parties and countries, but as for my performances, there is no big difference. Every time I just do what I can. I really enjoyed playing at Harry Klein (in Munich) because the crowd knows music very well… Basically, in every set I really want to mix minimal or flat but I can’t because the party needs energy, like big breaks and effects for the crowd… But at Harry Klein I mixed minimal and they listened carefully and gave feedback.

Recently you played London’s Fabric…
A great experience for me; Fabric is one of the best clubs in the world, and their sound system is amazing. I played with Ricardo (Villalobos) on the night, and it was totally full… I’ve been working with many UK labels like Lick My Deck, Safari Electronique and Sud Electronic, and it often happens in our world that we know and talk to each other for a long time, but only by email. Finally, I could meet the real people. I was so happy!

When can we see you in Tokyo?
I’m very sorry, in summer there are lots of parties and festivals in Europe, and I will play there. Hopefully I will come back soon—I’m looking forward to playing Japan again!

Akiko Kiyama, 7 Years is available on District of Corruption. www.akikokiyama.com

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