From the snowy streets of Sapporo to dance floors around the world, Kuniyuki Takahashi has built a singular universe of sound — blending soul, jazz, ambient, and house into deeply human stories. A revered figure among producers and DJs alike, his music has graced labels such as Mule Musiq and Joe Claussell’s Natural Resource, while collaborations with artists like Fumio Itabashi, Henrik Schwarz, and 4Hero’s Dego have cemented his place as one of Japan’s most quietly influential electronic artists.

On November 14, Kuniyuki brings his improvisational live performance to Dubai’s Honeycomb Hi-Fi, joined by Kito Jempere for a night that promises warmth, rhythm, and connection. Ahead of the show, we asked him a few questions about his creative process, the art of live performance, and the passion that has driven his more than 30-year musical journey.

— You began your solo career in 1986, but what originally drew you to sound design and music production?

— To be precise, I actually started making music a bit earlier, around 1983. At that time in Japan, people of my generation were influenced by artists like YMO, Kraftwerk, and Brian Eno. Synthesizers and rhythm machines were sitting in the corners of music shops, and when I tried touching them, I could suddenly produce the same kinds of sounds those artists made. Their mechanical yet emotionally stirring appearance fascinated me. The synths didn’t just make melodies — they could create sound effects and rhythms. That was incredibly exciting, and I think that was what inspired me to start making music — being drawn to these dreamlike instruments that expanded my imagination.

— Looking back at your early projects such as Frr Hive and Koss, how has your approach to sound evolved from then until now?

— Each of those past projects was a time when I was experimenting with new genres like drum’n’bass and ambient. But for me, sound and music have always existed as endless forms of imagination — something beyond genres. In that sense, my approach hasn’t really changed much. However, as studio equipment and technology have evolved through the years, they have allowed new ways of expressing sound — and that evolution has definitely opened up different dimensions in my work.

— You have released music across many genres — ambient, house, techno, downtempo, jazz, and more. Is there a common element or philosophy that runs through all your work?

— I always want my music to contain at least one moment — even if it can’t be put into words — that truly stirs the listener’s heart. That feeling is something I value deeply in every piece I create.

— As a sound designer, how do you balance the technical side of production with the emotional storytelling of music?

— When I start making music, I don’t think about sound quality or technical details — I just record the images, melodies, and emotions that naturally come out when I touch the instruments. Later on, I add the technical aspects, which enrich the music even more. So for me, both processes — the emotional and the technical — are equally important.

— What do you think lies at the core of the “Kuniyuki Takahashi sound”?

— It is very difficult to put my own music into words, but perhaps the essence lies in the idea that wherever music exists, there is always a listener — and that the relationship between music and people is a beautiful treasure. That feeling is at the core of what I do.

— You have had a long-standing relationship with Mule Musiq, one of Japan’s leading electronic labels. How did that collaboration begin, and why has it lasted so long?

— The label owner, Mr. Kawasaki, truly loves music. He is a dear friend whose way of understanding music I deeply relate to. Our relationship began because he really listened to my music closely. He also has ideas that I don’t — for example, the collaboration with jazz pianist Fumio Itabashi was his idea. Every time he brings a new idea or challenge, I feel inspired to take it on. Mule Musiq remains a very important partner for me, and that hasn’t changed at all over the years.

— What kind of role do you think Mule Musiq has played in shaping Japan’s electronic music scene internationally?

— From the very beginning, Mr. Kawasaki has focused on releasing good music regardless of whether the artist is famous or not. By continuing with that belief and operating from Japan, Mule Musiq has had a very positive influence and played an important role in shaping the Japanese scene.

— Music is often described as a “universal language” that transcends borders. How do you feel about that idea in today’s world?

— In today’s world, where everything moves at such a fast pace, music remains something that can connect people — transcending language barriers, time, and physical distance, simply by listening. I believe it will continue to be a precious language that brings people together.

— Your sound seems deeply connected to atmosphere and space. Is there a particular venue or performance where you felt your music truly came alive?

— There have been many special experiences, but recently, the Meredith Festival in Melbourne, Australia, and the Convenanza Festival were unforgettable — moments where something beautiful naturally emerged between everyone in the audience. But even at a small party, when just one person truly feels something and we connect through that — that is when I always feel the music is alive.

— You are performing at Honeycomb Hi-Fi in Dubai on November 14. What kind of set can the audience expect?

— I want to perform and improvise while feeling the atmosphere and the flow of time in that space. Honestly, I can’t predict exactly what will happen — but I hope it will be something open-minded that we can all create together.