Interview: Ken-Ichiro Isoda (磯田健一郎)

It’s not entirely lost on me how improbable this conversation is. I say this because nearly half a decade ago, in 2018, when I originally wrote about, Ken-ichiro Isoda, the person I’m speaking to today, I never realistically thought he’d be the one to bring me back, full-circle, on the heel’s of SRRD’s reissue of Oscilation Circuit’s Série Réflexion 1. 

Back then, on a particularly frigid, snow-covered, Illinois day, I was peering out the window, playing a copy of Oscilation Circuit’s Série Réflexion 1, simply expressing what I felt about this wonderful work coming out of my speakers. 

With that music playing in the background, I did, as I often do, try to find something/anything I could about those that created the work. And, unfortunately, back then, as I’ve come to frequently realize, when such words (and such history) fail to materialize – as they did on this occasion – I’d have to force myself to live by my own axiom: paint the picture with words. 

Back then, as I heard the gentle, crosswind-melodies of opening track, “Homme” and ended my listening session on the circular, ever-evolving, leitmotif of “Circling Air”, I felt this album’s ideas had struck a certain kinship with the ambient “interior music” of Sound Process Design label-mate Hiroshi Yoshimura and the hypnotic minimalism of artists like Steve Reich and Terry Riley. Pouring over the album’s aesthetic design and looking outside, I felt that, as a package, this meditative music was less worried about sitting in your background and more focused on presenting a foreground to place any listeners’ most insular, reflective thoughts. 

Setting aside its scarcity, the reason I felt Série Réflexion 1 would struggle to ever see a new light of day, was that I felt it expressed a certain emotional niche that I thought only a few readers would understand. Yet, its resonance within me, compelled me to write something/anything about the importance of valuing its existence. This was a piece of work that felt transcendental. It was a masterpiece that, thankfully, resonated with others.

So a year later, in 2019, I kept coming back to the work of principal Oscilation Circuit composer, Ken-ichiro Isoda. Once again, in late winter, I was drawn to his plaintitive, meditative work. Only this time around, I felt I should present an evolution of that initial feeling I was drawn to. 

Under his own name, in works as such as ナチュラル・トリップ マジエルの星 and クラムボンの瞑想, the youthful, minimalist, experimentation of the past gave way to (what I thought was) a more immediate, simple, yet sophisticated interpretation of “healing music”, one, seemingly, conceived by the mind of  a more lived-in musician.

Whatever had transpired from Ken-ichiro’s start in Oscilation Circuit to his work here, sounded like grace notes landing on ideas that were more uniquely his. This, I felt, was music functioning as a spatial landscape. That’s when I felt, if ever Ken-ichiro’s music was able to reach a larger audience, I had to reach out, step aside, and afford him time to tell his story.

To find out that that there was so much more to explore, well, that’s where we pick up the start of our conversation…

Ken-Ichiro Isoda (磯田健一郎) Interview

Ken-ichiro Isoda: First of all, I want to sincerely thank you for inviting me to this interview. Speaking with a dedicated music blogger like you is truly an honor. Thank you very much.

F/S: Ken-Ichiro, let me start by saying that all of this feels surreal. When I wrote about your work with Oscilation Circuit many years ago, I realized the odds were stacked against this album ever getting reissued. You name it – from the scarcity of original copies out there to how little we knew about you and your group – everything seemed tailor-made for Série Réflexion 1 to remain that way. To get straight to the point, how do you feel about seeing this work being rediscovered and reissued now?

Ken-ichiro Isoda: First and foremost, I want to express my gratitude to all the listeners. Honestly, for me, this work belongs to a distant past. The fact that this music has been rediscovered, reevaluated, and listened to is a tremendous honor for me. At the same time, I also feel a slight distance from the events as they relate to my current self.

F/S: If you don’t mind, let’s go back to the beginning. Can you share where you come from and how you first connected with music?

Ken-ichiro Isoda: I was born in 1962 in Osaka, a major city in the western region of Japan. 1962 was also the year of The Beatles’ debut, and I grew up absorbing their music in real time through the radio. When I was playing in the schoolyard, a melody I didn’t recognize suddenly flowed through my mind. Later on, I realized it was “Norwegian Wood.” That’s how I became acquainted with music without formal education.

F/S: When did you realize you wanted to do more than just be a music listener?

Ken-ichiro Isoda: Towards the end of elementary school, around the age of 11, my father gave me a very cheap and crude acoustic guitar. It was a difficult-to-play instrument with poor sound quality, but it was a treasure to me. Around the ages of 12 or 13, I started composing songs.

F/S: What kind of music were you listening to while growing up, and what musicians inspired you during that time?

Ken-ichiro Isoda: As I mentioned earlier, The Beatles are a prominent memory. Additionally, during the 1960s and 1970s, I was influenced by Japanese musicians who were inspired by artists like Bob Dylan and Peter, Paul and Mary, as well as other Japanese pop music of the era. I would copy their sound on the guitar.

F/S: How was growing up in Japan during that era, especially considering you were performing and creating music when Yellow Magic Orchestra (YMO) was rising in popularity?

Ken-ichiro Isoda: YMO were idols during my high school days, and I even had a band called Yellow Comic Orchestra in high school. As I mentioned earlier, from a very young age, I was writing pop songs. At the same time, I began studying music theory on my own. I composed the prototype for “Nocturne” during high school.

During this time, I was also a conductor for wind bands and listened to a wide range of modern music. The first piece I practiced conducting was Stravinsky’s “The Rite of Spring.” It was quite ambitious. While influenced by punk and new wave, I also delved into French music like Eno, Reich, and Satie. The music I listened to during my teenage years laid the foundation for me, and all of it was quite inspiring.

F/S: Could you talk about the role your university years played in your musical journey? If I’m correct, you attended Tokyo’s University of Agriculture and Technology. Was it to study music or something else?

Ken-ichiro Isoda: I majored in veterinary science. My university years were not related to music. During this time, I formed a rock band with friends from high school and performed at various live houses in Tokyo.

F/S: Correct me if I’m wrong, but did you eventually drop out of college? If so, how significant was that decision for your life?

Ken-ichiro Isoda: Yes, that’s correct. I heard various opinions, but in the end, it was the right decision for me.

F/S: When did your career as a professional musician (or working in a recording studio) begin? How would you describe that early period?

Ken-ichiro Isoda: It was in the 1980s, but I don’t have many fond memories of that time. I also lived as a writer, which was another profession for me.

F/S: Can you share something about your writing career? What kind of writing were you doing at the time?

Ken-ichiro Isoda: I would write anything when commissioned. I wrote articles for music magazines and even scripted manga. Writing scripts for manga actually helped sustain my livelihood.

The first book I wrote was an introductory guide to French composers like Satie and Debussy, targeted at beginners. This was in 1991.

F/S: At this point, I think we’re approaching the time when Oscilation Circuit came into being. How did you connect with Satoshi Ashikawa, the label head and inspirational figure behind Sound Process label?

Ken-ichiro Isoda: Unfortunately, I have no connection with Mr. Ashikawa or Mr. Yoshimura. Mr. Ashikawa had already passed away before Oscilation Circuit. I simply chose Sound Process Design as the source for the master supply for Oscilation Circuit.

F/S: How did you come into contact with the Sound Process Design label? Were there other opportunities, with other record companies, to put out music? If so, why did you go with them in the end?

Ken-ichiro Isoda: It goes without saying that I held a deep respect for the work of Sound Process Design. I desired to collaborate with them. So, I gathered my courage and directly contacted them with a presentation of my work.

F/S: Similar to other musicians under Satoshi’s label, like Hiroshi Yoshimura and Satsuki Shibano, you seemed to have an affinity for what we now call ambient music. When and where did you discover this style, and how did you develop your exploration of it?

Ken-ichiro Isoda: I primarily deepened my understanding through the works of Satie, Cage, and Eno.

F/S: Did you ever visit Satoshi’s Art Vivant record store? If not, how did you source such music at that time? Where were you turning to clue yourself into that kind of music?

Ken-ichiro Isoda: Art Vivant! Of course, I frequented Art Vivant multiple times and purchased records there. They also sold Oscilation Circuit.

F/S: Can you tell us the story behind the creation of Oscilation Circuit? I believe your brother Shigeru Isoda was involved. How did Nobuya and Hiroshi become part of the project?

Ken-ichiro Isoda: They were all attending the same high school. Nobuya specialized in saxophone at Tokyo University of the Arts and later became a world-renowned classical saxophonist. Hiroshi majored in vocal music at a music university. Both of them were part of the same wind band in high school as I was. My high school was exceptional, with many students advancing to prestigious universities like the University of Tokyo, so it was rare for anyone to pursue a music course.

F/S: Take us inside the studio during the recording of Série Réflexion 1. What were the recording sessions like for that album?

Ken-ichiro Isoda: I apologize, but I don’t have many memories of it. Since we were close friends, it was a fun and enjoyable time in a way.

F/S: You mentioned you had formulated or written “Nocturne” before this recording. Was there any evolution in sound (or otherwise) that occurred to it during this recording?

Ken-ichiro Isoda: The initial accompaniment I composed for “Nocturne” was based on a simple piano arpeggio repetition. During the recording, we made it more intricate by adding an organ and giving it a deeper expression through spatial expansion. “Nocturne – New Recording” is a re-recorded version that is closer to my initial concept.

F/S: Can you remember how the rest of the album came to be? Were these other songs composed beforehand or was there any kind of improvisation done in the studio?

Ken-ichiro Isoda: All the songs were composed in advance, and sheet music was prepared. Then, in the studio, we added improvisational treatments to complete them.

F/S: Did you ever imagine that this album would have such a lasting impact? After all, only around 300 copies were reportedly printed.

Ken-ichiro Isoda: I never imagined it at all.

F/S: What kind of ambition did you have for this recording? Did you think it would lead to other opportunities?

Ken-ichiro Isoda: No, I didn’t have any ambitions. I simply had the joy of creating sound.

F/S: Did you anticipate more projects from the Oscilation Circuit group? I’ve often wondered if Série Réflexion 2 was ever considered. Did the series name hold any particular significance?

Ken-ichiro Isoda: The series name was conceived by the Sound Process Design staff. There were no plans for a Série Réflexion 2.

F/S: When did you start hearing whispers or indications that Série Réflexion 1 was being rediscovered?

Ken-ichiro Isoda: I heard about it from Disk Union’s staff a few years ago. I also read about it on your blog at that time.

F/S: How did SRRD (Silent River Runs Deep) manage to reissue this album?

Ken-ichiro Isoda: I received reissue offers from labels in the United States, Spain, Italy, and Turkey. However, due to concerns about rights, I declined all of them. The contact with Disk Union / SRRD was strong, and they offered to deeply research the rights issue that I had doubts about. This was in March 2019.

At that time, my close collaborator, a renowned mastering engineer in Japan, was diagnosed with cancer. He wanted to work on this reissue as his final project. This was the main reason I agreed to the reissue. Unfortunately, he passed away before we could work on it together.

F/S: I noticed the new release includes new tracks. What was the process like for recording these tracks? Were they part of the original sessions or inspired by the original record?

Ken-ichiro Isoda: The new tracks are versions of “Nocturne” for performance and some versions of “Nocturne 2.” They were recorded for this album. The final “Nocturne” is a chamber music arrangement of “Nocturne 2,” and it’s a re-recorded track from my acoustic unit “The Toy Box,” featured on the album Garbage Collection.

F/S: I should really ask something about the album’s overall design. Were you responsible for dictating the look of the album? If not, how were those aesthetic choices done?

Ken-ichiro Isoda: I was responsible for everything.

F/S: What happened between the release of this record and your first solo album, クラムボンの瞑想 (Kurambon no Meisou)?

Ken-ichiro Isoda: During this time, I primarily produced albums for Japanese classical musicians. This work remains one of my main activities.

F/S: Would you describe what you were doing for Apollon as environmental or healing music? I appreciate many records from this series, although they have a different vibe from your earlier work.

Ken-ichiro Isoda: You can call that series whatever you like. Initially, Apollon commissioned me to create healing music. Unlike Oscilation Circuit, this was a professional job I undertook, and I was conscious of reaching a broad market. The focus was on more accessible melodies, harmonies, and long, gradual repetitions to appeal to a diverse range of listeners. These elements aimed to create acoustic experiences that could resonate with various users. The series was well-received according to my intentions, became a recurring theme, and saw several compilations and reissues.

F/S: The vast majority of your records during this period featured a mix of “environmental” recordings and electroacoustic instrumentation. How much was that due to professional constraints or was this kind of musical arrangement something you were more interested in experimenting with?

Ken-ichiro Isoda: I believe I used synthesizers to create more approachable sounds. I wanted to add new colors to my work at the time.

F/S: I’d like to share with you that out of all the records I’ve featured, whether on the blog or on YouTube, ナチュラル・トリップ マジエルの星 (Natural Trip・ Majel’s Star) has been the most popular. The video for the full album should one day approach a million views. Based on comments on the video, I can tell you that the vast majority express that this album has had a therapeutic impact on their lives and left them with a sense of peace. How do you feel about the popularity of your solo work?

Ken-ichiro Isoda: I feel deeply honored and want to express my heartfelt gratitude to all the listeners.

At one point, a patient in hospice care with terminal cancer requested to listen to music. The staff played one of Apollon’s tracks, and the patient, upon hearing it, said “beautiful” and passed away. Can there be a greater honor than this?

F/S: I know you mentioned your work with Apollon was a professional job. However, judging by a few of the track titles from プリオシンの浜辺, like “Still Silent -for S.A.-“ or “Landscape -for J.C.”, did you try to sneak in a bit of your own musical explorations and humanity into it? Eno conceived of Music For Airports, Music For Films, etc. and snuck deeper ideas into this music, so to speak.

Ken-ichiro Isoda: Yes, you’re right. I incorporated my musical thoughts into these works. Consider these pieces as my musical signatures.

F/S: Where did your solo work lead you? I recall reading that you also had a successful career as a TV and multimedia composer, which eventually evolved into writing and music education. Please feel free to correct me.

Ken-ichiro Isoda: I am not a composer for TV or multimedia, nor am I a music educator.

My main work is as a music producer, and I’ve produced albums for numerous artists. Some of the albums I’ve produced have received awards. In response to needs arising from the album production process, I have authored several music books. My first work was an introductory book on French composers like Satie and Debussy.

Furthermore, I work as a film music director and have received awards in this role as well. In terms of composition, I’ve done film scores as well as modern music and wind band works for young people.

For instance, here’s an example:

F/S: Ken-ichiro, so far I’ve focused much on your past, but where are you looking forward to achieving in the future? Can you share something in your profession that you’ve done recently (or plan on creating) that you hope readers could discover?

Ken-ichiro Isoda: In my search for materials related to this interview, I discovered sheet music I wrote during the Apollon recording sessions, including “Majieru no Hoshi.” I am planning to create self-covers of these Apollon-era tracks. Not all of them, but a few. I intend to release them within the next few months to a year. This will be a computer-based production, and I will try to stay faithful to the original sheet music while adding new tracks. I hope listeners will enjoy them.

I also plan to work on new compositions after that.

Please check my information on Instagram and YouTube.

Along with these social media platforms, I have compiled works that can be streamed on Linktree, so please check that out as well. I will update it regularly.

This year, many beloved musicians like Yukihiro Takahashi and Ryuichi Sakamoto have passed away. Also, I underwent surgery to remove cancer, though it was a minor case. I want to reevaluate the remaining years of my life and enjoy them to the fullest.

Finally, I would like to express my sincere gratitude to the talented music blogger, Mr. Diego Olivas. I believe this interview is the most accurate and in-depth article about me that can be read in English.

Thank you very much to Diego and all the listeners.