Name: Risa Taniguchi
Nationality: Japanese
Occupation: DJ, producer
Current release: Risa Taniguchi's new Magnetic EP is out via CLR.
Recommendations for Tokyo, Japan: I'd recommend exploring some of the older residential neighborhoods on the western side of Tokyo. There are still plenty of local izakayas with a great atmosphere, and they're a good place to experience a side of the city that feels less tourist-oriented.
Things I am passionate about but rarely get to talk about: I'm a huge wine enthusiast and recently earned my WSET Level 3 certification. I love tasting wines from different countries and grape varieties, and imagining the terroir and culture behind them. There's something fascinating about how a wine can reflect the place it comes from. Then again, I guess a lot of people love talking about wine lol
Another topic I could probably talk about all night is ramen. I'm a huge ramen fan, and I never seem to get tired of discussing different styles, shops, and what makes a great bowl.

If you enjoyed this Risa Taniguchi interview and would like to stay up to date with her music and current live dates, visit her official homepage. She is also on Instagram, Facebook, and Soundcloud.  

For a deeper dive, read our earlier Risa Taniguchi interview.



Are there examples of minimalism in music – and outside of music - that impressed you early on?

My mother worked for Yohji Yamamoto and always dressed entirely in black. She never wore any jewelry either. When I was a child, she used to tell me that black is actually the most extravagant color.

Looking back, that was probably my first encounter with minimalism.

Do you tend to find that, as many claim, “less is more?” Are the notes you don't play really as important as the ones you do play?

I’ve always believed that less is more, especially when it comes to making music. Most of the tracks I find truly cool or inspiring tend to have very few elements.

To me, the challenge—and the beauty—is in making each element work as hard as possible. Rather than adding more sounds, I prefer to focus on getting the most out of a limited number of ingredients and allowing each one to have its own space and purpose.

Do you feel as that making music is a process of adding elements until it is done – or one where you chisel away pieces from something that is already there?

I usually start with the busiest part of a track—the section where the most elements are playing at once. From there, I build the rest of the arrangement by continuously adding and subtracting elements.

It's often a process of refinement, where I shape the overall structure by deciding what to keep and what to remove, rather than building everything up from nothing.

Many artists are becoming more minimalist in their music as the years go on, focusing on the “essence.” How is that for yourself and how would you describe your development in this regard?

I don’t feel that I’ve reached that stage yet. I still see myself as being in a period of experimentation, constantly exploring what my essence as an artist really is.

At the same time, I don’t think that essence has to be fixed or permanent. I’m comfortable with the idea that it can continue to evolve and change alongside my environment, experiences, and circumstances.

What were some of the starting points for your most recent release?

I usually make the kind of tracks that I want to play in my own DJ sets. That's true for this release as well.

For the title track, “Magnetic,” I sampled my own voice and built the track around it, shaping it into a darker and more hypnotic piece. I liked the idea of transforming something very personal into something more abstract and atmospheric.

Do you like to set yourself limitations? If so, which were some of those limitations for the new pieces?

Yes, I’d even say that limitations are essential to my creativity. I've found that having too much time can actually be counterproductive, whereas a clear deadline often helps me focus and bring out my best work.

In this case, I was eager to share my latest music with Chris [Liebing], so I imposed a deadline on myself and used that sense of urgency to drive the project forward.

[Read our Chris Liebing interview about Collaboration]
[Read our Chris Liebing interview about his Creative Process]

Thanks to sampling and digital synthesis, there are endless possibilities for sculpting the sounds and overall sound design of a piece or album. What are your considerations in this regard?

There are almost infinite possibilities now, which can be overwhelming at times. We're living in a very privileged era for music production.

The downside is that when you have endless options, it's easy to keep tweaking forever and never finish anything. That's why I like to set myself a theme.

For example, if Ableton releases a new synth, I'll make a track specifically to explore that instrument. Having a clear focus helps me narrow down the possibilities and actually get things done.

Would you say that you approach your creative tools with a minimalist mindset? Or do you need a wide choice of instruments and tools to make music?

Yes, my setup is actually quite minimal these days. I mainly produce using just a 25-key MIDI keyboard and Ableton Live. One reason is that I want to be able to work on music while I'm on tour.

I also find that sitting down at a desk and telling myself, “Okay, now it's time to make music,” can sometimes feel a bit overwhelming. So I often use Ableton Move on its own to sketch ideas and create phrases in a more playful way. If something resonates with me, I'll transfer it to my computer and continue developing it there.

What were some of the most important pieces of gear or instruments for this release?

My own vocals maybe.

Reducing one's options and techniques often implies a different way of working with the materials. Tell me about yours, please.

When I limit my options, I tend to engage more deeply with the material I already have instead of constantly searching for new sounds or plugins, I spend more time exploring how far I can push a limited set of ingredients.

For example, if I decide to build a track around a single sample or synth, I become more interested in discovering the different possibilities within that source.

In many cases, my process is less about adding something new and more about digging deeper into what's already there.

French producer Guillaume Duchastel told me: “Minimalism is about more than owning fewer things. It’s about focusing on what truly matters.“ What are some of your strategies for separating what matters from that which doesn't?

For me, it's actually quite simple. I keep asking myself whether a particular sound is truly necessary for the track. In some ways, I'm more careful when removing elements than when adding them.

If muting a sound doesn't change the character or impact of the track, it's often a sign that it isn't essential. On the other hand, if the track immediately loses energy, tension, or personality without it, then I know it's important.

Ultimately, my final test is very practical: would I want to play this track as a DJ? If the answer is yes, I'm usually heading in the right direction.

With so much incredible music instantly available, are you finding that you want to take it all in – or that you need to be more selective? How do you pick the music you really want to invest in?

With so much incredible music available today, I actually try not to listen only to techno. I think it's important to keep exposing yourself to different perspectives and ideas.

The music I spend the most time with is usually the music that surprises me or makes me curious. I'm always looking for inspiration from outside my usual frame of reference, and often those influences end up finding their way into my work in unexpected ways.

Would you say that minimalism extends into other parts of your life as well?

Honestly, if you saw my apartment, you probably wouldn't describe me as a minimalist (laughs). I'm also quite indecisive when it comes to everyday life, so I think minimalism applies much more to my music than to anything else.

In music, I enjoy reducing things to their essentials. In the rest of my life, I'm still working on it.