An interview with Igaxx ahead of his ANGIS MUSIC release
Igaxx aka Shota Ikawa whose sound is rooted in eclecticism. Whether its dozy house hams or more intricate minimal, the Tokyo native really does strike us as someone who’s born to dedicate themselves to music. His latest release on Italian label ANGIS MUSIC is a case in point. Entitled 'Echoes', it’s a mesmerising 5-track EP that showcases the producer’s analogue distinctions with some vigour. Ahead of the release, we caught up with the man himself to learn more…
Igaxx, your latest release on ANGIS MUSIC has received critical acclaim. Can you tell us about the inspiration and creative process behind this release?
Samuele reached out as he really enjoyed my “Matango EP” on Ladybug and asked if I would be interested in creating something for ANGIS MUSIC with that same deep, percussive sound. For “Echoes”, I tried to maintain a similar vibe, producing psychedelic, deep house tracks.
Could you share more about your relationship with Samuele, the founder of ANGIS MUSIC, and how that partnership has influenced your career?
When Samuele contacted me about doing the release, he expressed his thoughts and ideas very clearly and we really connected. He supported me a lot through the creative process of the EP and I appreciated it.
In the Japanese music scene, what unique elements or trends do you believe set it apart from the global electronic music scene?
The Japanese club music scene stands out for its abundance of small venues. These intimate spaces showcase DJs playing unconventional, non-commercial music, creating a captivating and diverse sonic landscape. It's a unique facet that distinguishes it from larger, more mainstream clubs around the world.
You've had the opportunity to play abroad. What were some of your most memorable experiences while performing in foreign countries?
My most memorable experiences abroad were during two performances on the East Coast of Australia. These events, hosted by the best restaurant "Mangosteen" and party organizer Vitamin Q, were enriched by the presence of both local and Japanese guests. The vibrant atmosphere, coupled with a diverse and energetic crowd, made these occasions truly special and unforgettable.
As an artist from Japan, do you incorporate any traditional Japanese elements or influences into your music, and if so, how does that impact your sound?
While I don't actively intend to incorporate traditional Japanese elements into my work, I welcome the idea that listeners from overseas may sense a Japanese essence in my music. I believe the cultural backdrop subtly influences my sound, adding a unique dimension to the overall experience.
Who are some of your musical influences, both within Japan and internationally, that have played a significant role in shaping your sound?
This is a difficult question to answer…Influences from Japanese DJs like Altz, Chee shimizu, and Dr. Nishimura, along with international figures such as Moodymann and Theo Parrish, were pivotal in shaping my interest in house music. Before that, I listened to a lot of hip hop and soul, with a particular appreciation for the releases from Stones Throw. At the same time, I also listened to jazz, punk, new wave, krautrock, and techno. Artists and entities like Rising High Records, Can, Psychic TV, Sun Ra, and Lonnie Liston Smith have also left a lasting imprint on my musical evolution.
Can you describe your typical production setup and your favorite gear or software that you use to craft your music?
I particularly like Roland synths from the '90s, Waldorf Microwave XT, KAWAI K4, and Yamaha DX100. I've also used a Nord Rack2 on the track “Trips”. The DAW is Logic Pro X and the interface is UAD while the mixer is a Soundcraft from the 90's which was made in the UK. Each piece contributes to the unique sonic tapestry I strive to create.
Collaborations in the music industry can be powerful. Are there any artists you're particularly eager to collaborate with, and why?
I'm drawn to the music of Gilb'R from Versatile Records and would love to collaborate with him. His work, along with that of DJ Sotofett, Château Flight, Bright Future, and the rest of Versatile’s music, I really love.
How do you balance between your role as a DJ and a producer, and what aspects of each do you find most fulfilling?
I've been creating and editing music for DJing to generate the vibe I want to play. I started by sharing these tracks with my friends and eventually began releasing them, which is what I continue to do now. The process remains the same for both.
I find joy in spending time in the studio with my equipment, playing tracks that only I know and witnessing someone dance to them, or when someone asks me, "Whose track is this?"—that brings me joy. I have the chance to listen to a wide range of music for DJing, which also provides me with inspiration.
Could you share your perspective on the evolving relationship between technology and music production, and how it has impacted your creative process?
While technology in music production has advanced significantly, my approach remains relatively simple, with a preference for older equipment. This choice preserves the authenticity and character of my sound.
Can you tell us about a pivotal moment or decision that has shaped your career?
Working at a Tokyo club when I was younger, a co-worker invited me to start DJing, and at the same time, I started recording at home. Sharing edits with Altz led to my first record release, marking a pivotal moment that set the course for my career.
Are there any particular venues or festivals around the world that you dream of performing at, and what makes them special to you?
Grateful for the opportunities provided by Samuele and ANGIS MUSIC, I hope to visit Italy soon and play there.
What advice do you have for emerging Japanese artists looking to break into the electronic music scene and make their mark?
Trust your own sensibilities and embrace your unique musical perspective. It doesn’t matter if it’s different from popular trends; it’s interesting to find your own way of composing music.
Your stage name, Igaxx, is quite distinctive. Is there a story or significance behind the name, and what does it represent to you?
Igaxx doesn't hold a specific meaning; it was given to me by friends at the beginning of my music career and has stuck since. There are many ways to read Japanese kanji, and my stage name actually originated when a friend of mine mistakenly transliterated my surname!
How do you see the music industry in Japan evolving in the coming years, and what role do you hope to play in its development?
While uncertain about the industry as a whole, I notice a wave of unique young DJs in my local club scene, signalling a new generation, and that’s a great thing.
Are there any musical genres or styles that you'd like to experiment with in your future productions, outside of your current focus?
I'd love to explore ambient and experimental listening music in the future. Additionally, the prospect of engaging in remixing projects holds a particular interest for me.
What are some of the challenges and opportunities you've encountered as a Japanese artist navigating the global music scene?
As of now, I haven't encountered specific challenges, but I remain open to opportunities that may arise as I continue navigating the global music scene.
Can you tell us about any upcoming projects or releases that your fans can look forward to in the near future?
I'm currently working on a release for my label Ladybug and have a project underway with a UK-based label. I hope they’re looking forward to these upcoming releases.
As you continue to progress in your career, what legacy or impact would you like to leave behind as Igaxx?
I would be very happy if someone likes my music or plays it as a DJ. It would be like a shared sensibility. The record will remain as a form, and even if someone sells it, it can go to someone else as a used record. I feel a sense of romance, like a journey. Making records takes time and is hard, but I would like to keep making records.
Buy/listen to Igaxx’s Echoes EP on ANGIS here