Musical Style & Concept
“In my childhood, I made music not by playing a keyboard, but by typing symbols. I would rewrite the strings of text on the screen and execute the playback command, and the computer’s small sound module would begin to play a melody.
I would rewrite a single character and listen, then rewrite again and listen. It was less about realizing a preconceived final form, and more about witnessing something emerge beyond my imagination, guided by the response of the sound.
That experience with a personal computer and MML (Music Macro Language) remains unchanged today, even as I now work with a DAW. The essence of creation has never left that place.”
── A composer exploring inner landscapes and the sense of time, traversing electronic acoustics and organic textures.
At age 14, he began composing on personal computers such as the MSX and PC-8801. Immersed in computer-based music production since junior high school, he has consistently maintained the digital environment as the foundation of his creative work.
Through changes in his tools—from PCs and MML to modern DAWs—the core of his work has always been a dialogue with sound. He views the DAW not merely as a production tool, but as a space where sonic thinking itself can unfold, building music through sustained trial and error.
Rather than realizing an image held in his head, he finds creative joy in listening closely to the sounds as they emerge, and discovering the form of a work through their response. For him, composition is the act of attending to the direction in which music wants to grow, and being present for its unfolding.
Drawing on jazz, modern classical, minimal music, and video game soundtracks, he develops a musical language that balances structural integrity with evocative imagery, and experimentalism with intimacy.
He draws from the lucid structural clarity of Stravinsky and Ravel, the introspective harmonic sensibility of Bill Evans, the temporal construction through repetition and micro-variation of Reich and Adams, and the spatial editing concepts inherent in computer music—weaving these into a distinctly contemporary electroacoustic language.
Working with acoustic instruments, synthesizers, and environmental sounds, his compositions emphasize detailed layering, repetition, reverberation, and spatial placement. The evocative power and sense of immersion cultivated through years of stage and game music production remain a vital core of his current work.
His music is conceived as an interior space where listeners can quietly turn inward, and simultaneously as a field where distant sensibilities can gently resonate with one another.
In recent years, he has released works through his personal label, continuing these musical explorations. For a complete list of works, please visit the Works page.
Biography
Strongly influenced by the power of video game music to conjure entire worlds, he began composing on personal computers at age 14. Through trial and error with computers and MML (Music Macro Language), the archetype of his creative process took shape: searching for the form of a work by listening carefully to how the sounds respond.
Self-taught in composition and music theory, he joined an independent creative circle during his high school years, producing electronic music works that established the computer-mediated, dialogue-driven creative approach he continues to this day.
In 1994, he studied under pianist and composer Yumiko Murakami at AN Music School, where he developed his techniques in jazz and modern classical composition and arrangement.
Around the same time, he was profoundly shaped by jazz fusion—represented by CASIOPEA and T-SQUARE—alongside the introspective jazz of Bill Evans and beyond, neoclassicism, and post-minimalism. These influences formed the backbone of his compositional thinking.
While attending music school, he began producing stage music, including musicals. He subsequently worked on video game soundtracks for the PlayStation and SEGA SATURN, while continuing a broad range of music production centered on theatrical works. He now focuses primarily on releasing work under his own name, pursuing creation through an ongoing dialogue with sound.
Major Stage Works:
Starboard Theater Company “Carousel Waltz”, “Entertainer”, “True Love”, “I Wish…”, Naraku Theater Company “Yellow Python”, Creators Yui Theater Company “Hoshi no Sekai o Motomeru Te” (Hands Seeking the World of Stars), Project+ “All What You Love”, among others.
Major Game Works:
PlayStation “Ganso Family Mahjong”, SEGA SATURN “Super Kyoutei 2” (Super Boat Racing 2), “Maboroshi no Black Bass” (Phantom Black Bass), among others.
Thoughts Behind the Site Name
The site name, “Sakkyoku suru Kotoba” (Words that Compose), layers multiple meanings: “words compose,” “composing with words,” and “composing words.”
- That “words” themselves, accompanied by thoughts and emotions, generate musical movement.
- Describing and sharing the act of composition through words.
- And structuring writing in the same way one constructs music.
By intersecting these ideas, it expresses a multi-layered sense of creation where the boundary between the composing subject and the object wavers.
It also serves as a symbol of the “complex relationship and multifaceted feelings towards music” held by the one who composes.
Blog
On the blog, he records and shares his thoughts on creation and the trajectory of his practice, written from the perspective of a composer and musician.
SNS
On the text platform note, he posts reflections on small everyday moments, fragmented thoughts, and personal essays.
On X and Threads, he logs fragments of his daily creative life: works in progress, DAW screens, books, music, and quoted words.
Works, writing, sound, thought—through the traces of each moment, he quietly shares the time spent in creation.
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Threads