Experience-Driven Showcase [2]Branding Through "Music"
Tei Towa
Takizawa Yuka
Dentsu Live Inc.
In the previous column, we shared the branding approach for the spatial development of "INTERSECT BY LEXUS."
This time, on March 19, 2015, an event was held at the store, and Yaka Takizawa from Dentsu Inc. interviewed Towa Tei, the music producer for INTERSECT BY LEXUS.
What is Lexus branding?
Towa: Being entrusted with the entire music production for a brand like Lexus, which has such cool aspirations, made it incredibly easy to work on. As a DJ and music selector, I've been active since 1987, so it's almost 30 years now. This offer allowed me to contribute all the skills and experience I've built up over the years. It also became a great opportunity to revisit the music that forms my roots—like jazz, funk, and fusion—which I hadn't listened to much lately.
Takizawa: With one-off events, the image boost is just for that moment, but "INTERSECT BY LEXUS" feels like it's building the brand at a high level over time.
T: Exactly, branding has to be like that. The saddest thing about a project I worked on before was that I selected the opening music for a store, and then three years later, I casually dropped by and it was just regular cable radio playing (laughs). Lexus is putting in a tremendous amount of energy, so I had to quit my regular gig at a nightclub to make this happen.
Takizawa: I know it's really demanding on your schedule, Tei. But our customers are really looking forward to it. I believe they're experiencing the brand, not just hearing background music, but truly feeling the ambiance.
Tay: By the way, for this month's selections, I divided them into morning and afternoon sets—meaning times when people are sober versus when it's okay to have a drink.
Takizawa: What's the special mix part like this time?
Tei: I asked the girls' band "Negoto" to create their take on an adult, handsome sound, and also approached Masayuki Kusumi, the manga artist and original creator of "Kodoku no Gourmet."
Takizawa: I bet everyone we asked felt like they were baring their souls. I think it really lays bare your personal tastes.
Tei: Lexus is wonderful. I think they asked me to create new music because my son was born. I wanted to try this tailor-made approach to music, where you create music specifically for a particular building, like "We built this architecture, so create this music for it." What I further proposed was an experiment: just as cuisine changes with the seasons, I'd ask people who aren't DJs to contribute music, and I'd handle the mixing. As a selector, I'm an amateur, but I thought, "These are people who definitely listen to music." For summer, for example, we had an amazing lineup: Negoto, Masayuki Kusumi, and Hiroshi Takano.
Takizawa: I think the ability to reimagine the scene of music and dining in this space, and to take on various challenges, comes from doing this for a long time.
Tei: I think it ultimately contributes to building a brand over time. Personally, I listen to tracks selected by other regular DJ members or non-professionals, and since there are songs I didn't know, it's educational and just plain fun. I listen while eating or driving. In fact, driving itself has recently become an option for me. I was a paper driver for about 25 years.
Takizawa: Really?
I was doing a motorcycle presentation for another client at work, and they pointed out I didn't even have a license. I was so frustrated I went straight to get my license. During the final test, they said surprisingly, if you pass the medium-sized bike test, you can go straight for the large one. So I got my medium license and then got my large license just five days later. Though I'm still just a paper holder for the large one now (laughs).
Tei: Anyway, I think it's music you can listen to in the car, or while eating a meal. I'm usually in Karuizawa, but I create it imagining this space called "INTERSECT BY LEXUS."
Club events and five-hour-long set selections
Takizawa: I really enjoy how the music at this venue captures the season, subtly shifting each time.
Tei: Exactly. It evolves as a cohesive cluster, you know?
Takizawa: There's this real sense of confirming "the present moment" through the sound. I think I personally look forward most to those transition moments. I'm often at the shop during the late-night transitions.
Tey: For our regular club events, I curate a five-hour set every month, and that's part of the fun. I don't consider myself a musician myself, so I approach it with a producer's objectivity. While there are parts entrusted to me by the musicians, I also provide objective direction to their subjective choices – suggesting things like, "Maybe we should decide this part like this." That's where I find the most satisfaction.
Takizawa: Watching today's rehearsal, it was amazing how the artists instantly tuned into your direction and really synced up. Seeing that from the side got me fired up.
Tei: I only want to work with people I truly respect, people with a certain level of talent. With those people, even if notes need editing, it doesn't feel like fixing something. That's why I only reach out to them. I'm incredibly lucky that my current team shares that mindset.
Takizawa: It's a great environment where we can continuously think together about how to stay on track and, conversely, how to incorporate new things.
Tei: It's genuinely fascinating! I've been able to share everything I've done over the past 27 years without holding back in these last two years. Plus, compared to other DJs or regular musicians, a lot of them seem like real old farts (laughs). I really feel this job lets me leverage that. DJing is a profession where experience counts. I want to adapt to the space, maybe injecting a more earthy vibe or using high-tech sound materials.
Takizawa: Lexus has this mature, urban approach to sound, right?
Tei: The image evoked by the word "adult" varies from person to person, and that ambiguity is a good thing. What someone in their early 20s considers "adult" is different from what someone in their 40s or 50s thinks. There's no right answer in music selection, and music itself isn't guilty of anything. That's what makes it interesting. Precisely because there's no definitive "this is it" answer, it's fascinating.
Creating first, not just because there's a request
Takizawa: Hey Tei, what have you been up to lately?
Tei: I don't create based on requests; I create on my own terms, like my solo album. When opportunities arise—like new tech gear or a car project—I feel the happiest when I can present something I've already created and say, "How about this?" It feels like the perfect marriage for my work.
Takizawa: I think advertising agencies' weakness is that they only move once demand exists. We lack that attitude you have, Tei-san: "Don't create because there's a request; create first."
Tei: No, no. But you might be right. Well, unfortunately, I don't have much stock—I end up putting everything on the album (laughs).
Takizawa: When's your next album release?
Tey: Probably around summer. We'll release it at the end of July, take it easy in August, and starting in September, we're considering offers for special projects outside my solo work. Of course, we'll make the monthly "INTERSECT BY LEXUS" even more exciting! Getting to work with Lexus as an adult was perfect timing.
Takizawa: Looking forward to working with you in the future!
(End)
Interview & Editing: Aki Kanahara, Dentsu Inc. Event & Space Design Bureau
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Author
Tei Towa
In 1994, he made his solo debut with 'Future Listening!'. He subsequently released 'SOUND MUSEUM' and 'SWEET ROBOTS AGAINST THE MACHINE' in 1997, followed by 'Last Century Modern' in 1999. In 2002, he released 'TOWA TEI' under the name SWEET ROBOTS AGAINST THE MACHINE. His creative activities intensified further after relocating to Karuizawa, leading to consistent releases including 'FLASH' (2005), 'BIG FUN' (2009), 'SUNNY' (2011), and 'LUCKY' (2013). Beyond original works, he handled numerous songwriting and production projects, including the soundtrack for Hitoshi Matsumoto's 2007 film 'Dai-Nichi Co., Ltd.' Alongside music production, he held the 'ecollage' exhibition in Tokyo and Kyoto in 2012, showcasing his ongoing art collage works. In 2014, marking his 20th anniversary as a solo artist, he released a remastered trilogy as part of his 20th-anniversary project: '94-14 REMIX', '94-14 COVERS', and '94-14'. He also held his second solo exhibition, 'TOWA TEI THINKS PRETTY THINGS', at Marunouchi House, featuring collaborative works with Hiro Sugiyama. He is currently working on a new album, scheduled for release in late July.
Takizawa Yuka
Dentsu Live Inc.
Joined Dentsu Inc. in 2011. Produced large-scale events such as expositions, as well as showrooms, stores, and commercial facility development within the marketing and promotion fields. Engaged in creating branded spaces and new communication experiences centered around spatial design, as well as event and space development. Practiced total planning and production of experience design across all formats.