This Friday, November 14, Dubai’s Honeycomb Hi-Fi hosts a special night: Kuniyuki brings his improvisational live performance to the room’s audiophile system, joined by Kito Jempere for an intimate session of warmth, rhythm, and connection. Another name you shouldn’t miss is Toshiya Kawasaki — founder of Mule Musiq and Studio Mule — a figure whose taste has quietly shaped house and left-field electronics for two decades.

Before music, Kawasaki came up through fashion, developing the sharp visual sense that still guides Mule’s curation and artwork. At the turn of the millennium he helped connect Japan with Europe’s underground, bringing Kompakt artists to Japan and falling for the singular cover of Isolée’s We Are Monster — a moment that sparked Mule’s long-running collaboration with Stefan Marx. Since launching Mule Musiq (and sister imprints like Endless Flight and Studio Mule), Kawasaki has championed artists from DJ Koze and Lawrence to DJ Sprinkles and, most centrally, Kuniyuki. With Studio Mule, he has also become a careful steward of Japanese musical heritage, reissuing gems across jazz, folk, and fusion, while his Studio Mule listening bar in Tokyo embodies the label’s spirit in physical form — a small, signless hideaway where rare wine, meticulous sound, and thoughtful design meet.

Ahead of Honeycomb Hi-Fi, we asked Kawasaki about style, stewardship, and the curiosity that keeps Mule moving.

— Mule Musiq has just reached its 301st release, and that one happens to be your collaboration with Kito. How does it feel to cross that 300 mark?

— Including sublabels and CD releases, I think we have surpassed 500 titles. We have put out a lot of music, but to me it is just a passing milestone.

— When you started Mule Musiq, did you ever imagine reaching this point? Was there ever a goal to continue beyond 300, or did it evolve naturally over time?

— I am the type who works hard once I decide to do something — but there are many labels more amazing than mine, so I am not particularly satisfied. There was never a grand number goal; it evolved naturally.

— Mule and Kuniyuki are almost inseparable — so many of his records have come through the label. How would you describe your creative and personal relationship with him over the years?

— I founded Mule to release Kuniyuki’s music. If I could no longer release his work, I would end Mule Musiq. He is the most important person to me — as a musician and as a friend.

— His debut album finally came out on vinyl recently — what does that moment mean to you?

— That record compiles his early works, and it is special. Personally, the album I cherish most is All These Things — it represents what I value in his music.

— You came from the fashion world before running Mule Musiq. How does that background still influence your approach to curation, visual identity, or even the atmosphere of the label today?

— I believe I have a fashion sensibility that many A&Rs don’t. Artwork functions like advertising for the brand; releasing diverse music is like a stylist mixing clothes with different worldviews; and all the merchandise we made was another way to promote the label from a different angle.

— Do you think the sense of style and texture in fashion translates somehow into how you choose or “feel” music?

— At Mule, the most important thing isn’t “quality” in an abstract sense — it is style. I still don’t pretend to know which music is objectively “high quality,” but I do think I have a sharper sense than most for what is cool. That comes from fashion.

— Mule releases are instantly recognisable thanks to their artwork. How did your collaboration with Stefan Marx begin?

— I saw the artwork for Isolée’s We Are Monster and immediately asked Ata from Playhouse to introduce us. Alongside Kuniyuki, Isolée is one of the most wonderful artists I have worked with through Mule — and that record led me to Stefan Marx.

— What does Stefan’s design bring to the label’s visual universe, and how involved are you in the creative direction of the covers?

— Factory Records had Peter Saville; for Mule, Stefan Marx is that figure. I don’t need to say much to him — he has 100% freedom.

— The name has become iconic — but what is the story behind it? Why Mule?

— I wanted something simple; names with obvious meanings felt uncool. Music is part of everyday life, and I love perfume, which we also use daily. While flipping through a fashion magazine looking for a perfume-like name, I arrived at “Mule.” It carries a nuance of sophistication — in the end, it fits.

— Does the name carry a specific philosophy or image for you? Tell us about Studio Mule — how did the idea of turning a label’s spirit into a physical bar come about?

— In the 1990s, clubs were like cultural crossroads, so I got deeply involved in the club scene. It isn't that kind of place anymore, but I still want to listen to music. People around my age — my close friends — stopped going to club events, but they are still looking for places to enjoy music. That is how Studio Mule got started.

But honestly, the biggest reason was to sell off the huge amount of wine I owned — haha.

— What kind of experiences do you want people to have there? Is it more of a listening space, a hangout, or a creative hub?

— Studio Mule is a special, multi-purpose place: a music bar for some, a wine bar with rare bottles for others, and an interior destination thanks to Case Real’s design. Enjoy it however you like — but I appreciate when people come with intention. That is why there is no sign, no phone, and it is tucked on the 3rd floor of a mixed-use building.

— You also launched Studio Mule as a label — how does it differ from Mule Musiq in vision and sound?

— I started Studio Mule to release Japanese music. Watching great Japanese records get licensed abroad made me think, “This is not good.” Japan’s wonderful music should be released by Japanese labels.

— What kind of music or artists feel “at home” on Studio Mule?

— Music and artists who haven’t yet found their place. How things are interpreted — and the era — can change everything.

— What are your expectations for playing in Dubai? Have you connected with the scene here before?

— I don’t know much about Dubai. I will be happy if people are interested in the music I release.

— What kind of set or vibe do you want to bring to audiences here?

— Since this is a listening bar context, I will play something different from my usual dance-music sets.

— After 300+ releases, a bar, and multiple sub-labels — what is next for Mule Musiq?

— When I start something new — a label or otherwise — I don’t overthink it. If I feel I can express something half a step ahead of the times in my own way, it has already begun. Overthinking isn’t my style.

— Any personal goals or directions you want to explore this year — musically, visually, or otherwise?

— There are always records I haven’t heard, wines I haven’t tasted, restaurants around the world I haven’t visited — desire never ends. I hope the label continues as a lifelong endeavour.