TOPHER HEALY relays some questions via a translator to Japanese ‘post-electronic’ musician and singer PIANA (real name SASAKI NAOKO), set to perform songs from her latest album, Eternal Castles, and other ethereal compositions at the Powerhouse this Saturday night.

When did you first begin experimenting with electronic instruments to create your music?

Around 2000.

Was there a particular influence or inspiration that led you to work with electronics in conjunction with traditional instruments?

When I began activity as Piana, I used to enjoy playing with a sampler. That’s why my music now involves both acoustic sounds and electronic sounds.

Your singing performs the role of an extra instrument in the songs – how important then is the composition of lyrics? Are the words equally as important to you as the finished piece of music?

Lyrics are very important for me. There are many cases where lyrics are a symbol of myself and the theme of my songs. But I also often think that I want to celebrate the separation between the words and the sound of Japanese. The affinity of sound and voice is a very important thing.

Do you enjoy collaborating with other musicians when creating your own albums? Or is creation a more personal and individual task for you?

I had many musicians participating in my latest album. There were many things that I couldn’t do if I worked alone. But I also think creation is a personal and individual task for me, because the songs were finished with only my judgements. When I collaborate with someone, I enjoy conversations and exchanges with them. So, in that sense, I regard collaboration quite differently from my own works.

The natural world and spirituality seem to be recurring themes in your songs – are these elements the most inspiring to you when composing?

The natural world is a very important element for me. I always choose the location of my house in the suburbs with a lot of surrounding nature because the colours of my songs are changed by the room I compose in and the view from there. I’m interested to see what kinds of music I create when I compose in a foreign country.

I understand you have a collaboration with Her Space Holiday (US) and Joseph Nothing (JAP) planned. How did this come about?

It came from the idea of a Mr. Hatakeyama, who is the owner of a Japanese label called & Records. Her Space Holiday and Joseph Nothing were originally friends, and Joseph and I had a plan to collaborate, so it was a good chance.

Having performed widely in Europe, have you noticed any differences in the way your music is received by audiences at home and overseas?

I think that overseas people tend to listen to the music and enjoy the sound more than Japanese people.

What reactions and feelings do you hope to elicit in your audience when performing live?

I don’t want to force something on listeners. I want them to imagine something freely and listen to my music comfortably.

What are you most looking forward to doing and seeing when you come to Australia?

I want to enjoy the great nature in Australia.

Piana performs at Fabrique 35, with guests Jim Denley & Kim Mhyr (Norway), on the Rooftop Terrace, Brisbane Powerhouse, Saturday August 25. Eternal Castles is available on import. (www.myspace.com/pianan & www11.plala.or.jp/piana)

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