Chizawa Q chats new LP on R&S

Prepare to step into a new dimension of sound with Chizawa Q, the Yokohama-born artist whose innovative approach is reshaping electronic music. His debut album, Xenoverse, set to release on November 22, 2024, through the iconic R&S Records, is a striking blend of reverence for the genre’s roots and a bold leap into unexplored sonic territories.

Drawing inspiration from Detroit techno legends like Underground Resistance, Kenny Larkin, and Carl Craig, and merging it with the jazz-infused styles of European techno pioneers such as Dave Angel and Vince Watson, Xenoverse is both an homage and a frontier. Following the successful singles “Beluga” and “Black Nebula,” Chizawa Q invites listeners on a sci-fi journey through ten carefully crafted tracks, enhanced by collaborations with artists like Masaki Sakamoto, Kowalewski, and Dan Samsa, as well as a remix by Tokyo drum ‘n’ bass legend Makoto Shimizu.

Describing his album as “a soundtrack to a universe not yet born,” Chizawa notes the personal significance of joining the R&S Records roster, a label celebrated for spotlighting Japanese artists like Ken Ishii. With support from influential tastemakers such as Laurent Garnier, Josh Wink, and LTJ Bukem, Xenoverse promises an immersive experience that will captivate electronic music enthusiasts worldwide. We caught up with the man himself recently to chat more...

Your first release was in 2005, followed by a few in 2006. But then there was a large gap before you reemerged again in 2022. Tell us a bit about the intervening period, and why you’re firmly back to making music again?  

I didn’t completely stop making music during that time. While I had stepped away from creating my own personal work, I was still involved in Japan's commercial music production and business. Yet, my passion and desire to make my own music never disappeared, and when I opened that door again, the ideas started flowing endlessly.

How did the opportunity to sign with R&S Records come about, and what drew you to work with this legendary label?

Back in 2006, I had a 12-inch release with R&S, but after many years had passed, Renaat reached out wanting to re-release it. At the time, I was also working with an indie label in Japan and happened to be in contact with R&S for work. Then he messaged, saying he was looking for Chizawa, so I replied, "That’s me!" (haha). Seems he hadn’t realized it was me.

Can you tell us about your relationship with Renaat Vandepapeliere and any insights or guidance he’s shared that have impacted your career or music?

I hadn’t been in touch with Renaat since my last release, but when he reached out to me again, it just so happened that the boss of the label I was working with had been a business partner with R&S back in the ’90s. So, it really felt like something was connecting us in some way. Renaat’s judgment is very clear-cut—he knows exactly what’s good and what’s not. He doesn’t need a lot of words; what’s truly important just becomes obvious. I really respect how he focuses solely on the music’s potential, regardless of an artist’s background or identity.

R&S has a rich history in electronic music—what does it mean to you to join a roster with such influential artists?

It’s an honor to be part of R&S’s history. Being Japanese, and seeing other Japanese artists like Ken Ishii and Boom Boom Satellites, who are also my heroes, active on R&S makes me proud.

Your new track, “Beluga,” has an abstract, jazzy, techno sound. Can you walk us through the inspiration behind the track?

"Beluga" was created with the idea of collaborating with a pianist who understands techno. Masaki Sakamoto is an electronics artist who also plays jazz piano, making him the perfect fit. We aimed to balance techno, house, and jazz purely and intensely, without leaning too much into any one style. Masaki and I talked about it like this: “Imagine Miles Davis holding down a wild organ chord while Hancock is playing a funky piano behind it.”

What does "Beluga" signify for you personally and artistically, and how did you arrive at the soundscape of jazz-infused techno?

"Beluga" embraces the fusion of different elements. The music videos and artwork for this album have an AI-inspired feel, which might get mixed reactions, but I thought it was fitting to represent something unknown.

The track is the lead track from your upcoming LP, to be released via R&S in November. What can you tell us about the album? 

Xenoverse is like a soundtrack to a nonexistent world, revisiting memories from a place no one has seen. The lead track, "Planet 9," takes place on a strange planet filled with bizarre creatures and mysterious landscapes. I’d love for you to check out the music video. (The number “9” is pronounced “Q” in Japanese.) Sound-wise, the album has a variety of beats, and three tracks are collaborations with brilliant pianists (Masaki, Dan Samsa and Kowalski) each bringing unique textures to the album. The final track is remixed by Makoto, a fellow Japanese artist whom I deeply respect.

You’ve also released music on Laurent Garnier’s F Communications. How do you generally establish these sort of relationships? 

The track I released with F Communications was made when I was developing my style and sent demos to places other than R&S. It was part of a series with ninja art on the sleeves, which I loved, so I was thrilled to be featured in it.

The track is influenced by Detroit pioneers like Underground Resistance and avant-garde artists like Steve Rachmad—how did you channel these influences while making it your own?

As for UR and Steve Rachmad, I didn’t listen to them in real-time, but I think I was more influenced by the variety of music that branched out from their work. Tracing the work of these pioneers, who are also part of my roots, continually inspires me.

Detroit techno has had a massive impact on your music. What elements of the Detroit sound do you connect with most deeply?

When I was forming my own style, I didn’t think of it as Detroit techno or related to that sound. I only became aware of the Detroit connection when people pointed it out. That’s when I started to learn more about it and naturally felt a strong connection.

Underground Resistance, with its political and cultural ethos, goes beyond music. How has that ethos influenced you, and do you see your own music as an outlet for broader messages?

I think the ethos and stance of UR are incredible. My music leans more into imaginative elements, but the fact that I’m creating this kind of work while holding onto my identity as a Japanese artist might, in itself, offer people something to think about or convey a certain message.

Are there specific tracks or albums from Detroit artists that have left a lasting mark on your creative outlook?

The "Q" in my name has been my nickname since childhood, and I’ve always been drawn to anything with that letter. Kenny Larkin’s "Q" felt particularly special to me.

Your production process often results in these rich, layered sounds. Could you share a bit about your workflow and how you begin building a track?

I start with a rough image in my mind and then gather various sound fragments by playing around with samples or keyboards. I try to find good combinations from there, a bit like model-making or hip-hop. From that point, I explore the musical potential of each track.

When approaching a new piece, do you have a vision in mind or do you prefer to let it evolve naturally as you experiment with sounds?

It varies. I’ve never had a vision that turned out exactly as planned, but the piece often becomes more interesting as it evolves.

Do you have a particular piece of gear or software that’s central to your process, especially on a track like “Beluga”?

I have various hardware and software, but for this album, I focused on minimal tools—mainly the built-in DAW sounds and free soft synths. I wanted to see how far imagination alone could take me. All collaborations with other artists were done by exchanging data.

When you're creating music, do you have a particular audience in mind? Are you focused more on the club scene, personal listeners, or perhaps an entirely different audience?

I don’t have a specific listener in mind, but when I play back what I’m working on, I think about whether it might leave an impression. I try to listen objectively, so it doesn’t end up as only a club tool.

How do you balance creating music for yourself versus crafting it to resonate with listeners or a live crowd?

If I ever get a larger fanbase, I’ll have to think more about that balance, but for now, I create freely.

Is there a specific message or feeling you want listeners to walk away with after hearing your music?

I’d love for listeners to feel like they’re watching a movie, where their imagination is sparked.

I know Jeff Mills is another big influence. Are there aspects of Jeff Mills’ philosophy or style that you feel have influenced your own work since collaborating?

Yes, I’ve long since supported his releases and performances in Japan. His depth of imagination and philosophy is awe-inspiring, and there’s this fascinating contrast between his raw energy and his cool, gentlemanly demeanor. There’s something powerful about expressing his core beliefs without getting intense about it.

Can you tell us a bit about your early influences? Who or what initially drew you into the world of electronic music?

Japanese techno legend Takkyu Ishino! 

Looking back, what were some pivotal moments or releases that shaped your musical journey and pushed you toward producing?

The excitement around the turn of the century was intense, with acts like The Prodigy, Chemical Brothers, Underworld, and Daft Punk crossing techno and rock. That music felt incredibly powerful.

You’ve mentioned your love for anime. Are there particular shows, characters, or themes in anime that have inspired your music, and how do you feel they intersect with the energy of techno and electronic soundscapes?

Shows like "AKIRA," "Ghost in the Shell," "Gundam," "Patlabor," and "Lupin the Third" have given me a unique kind of inspiration. Anime’s expressions pair perfectly with jazz, world music, and electronic soundscapes. I think anime and games hold a lot of potential to expand the musical palette, and they make me feel that possibility.

Keep up with Chizawa Q on Instagram 

Xenoverse is out soon via R&S. Buy/listen to the release here