Interviews

We are thrilled to sit down with the visionary artist behind Personal System 個人システム to celebrate the release of the stunning new album, Liminal City '87. Born out of his debut performance in Tokyo, the project blends the nostalgic haze of cassette culture, '80s digital synth alchemy, and the haunting beauty of liminal spaces into an immersive sonic tapestry. In this conversation, we talk about the transition from rock bands to solitary electronic exploration, the cinematic world-building behind the new record, and the gear that gives Personal System 個人システム its lush, dreamlike glow.

For a bit of backstory, how did you get started producing music and what are some music inspirations ?

I started playing drums and formed my first band when I was 16. It was a very amateur project, with fun being our main priority. We played mostly covers and wrote a few original songs here and there, but nothing too serious. Our focus was always on rock and its many subgenres.

At the time, I knew very little about electronic music, mostly just whatever was playing on the radio, and it never really caught my attention. That started to change when a friend introduced me to a few house and techno artists. I became increasingly curious and started digging deeper, discovering more music and exploring the scene. I was around 18 or 19 then, and I had grown tired of being in bands and dealing with the constant disagreements that came with them.

When I discovered the freedom of making music on my own, everything clicked. I immersed myself in learning the craft and kept pushing myself further and further.

As for my musical influences, there are so many that it's hard to put them into words. Brazilian music, jazz, new age, progressive rock, the Berlin School of electronic music … and all kinds of experimental music have shaped the way I think about sound. I draw inspiration from a wide range of genres, and I think that diversity naturally finds its way into my work.

What are some key elements of your studio over the years ?

Ever since I started making music, one of the defining elements of my studio has been cassette tape recorders. I've always been fascinated by that kind of sound, even before I really understood why.

A lot has changed since then. I've gone through different phases in both my sound and my creative process, but that fascination has never faded.

More recently, I've also fallen in love with digital synthesizers from the '80s and '90s, especially rack modules like the Roland JV-1080, Roland D-550, and Korg Wavestation A/D, among many others. They evoke a vision of a utopian future imagined decades ago, and that aesthetic has become a huge source of inspiration for what I'm currently doing, specially with Personal System 個人システム.

How do you separate the sound of your aliases, Personal System 個人システム with your other project, Nørus?

Nørus is the project I've been developing for years, so it feels like a personal diary, a safe space where I can experiment and let all the influences I carry naturally shape where the music goes next. I'd describe its sound as more lo-fi and experimental.

Personal System 個人システム, on the other hand, was conceived as an entirely different world, heavily inspired by the utopian vision of the future I mentioned earlier. It also draws from my fascination with dreams, parallel and virtual realities, the mystery of liminal spaces, and many internet aesthetics that have emerged over the years. All soaked in a generous amount of reverb.

Your latest album Liminal City '87 from a live recording in Tokyo, how did that show come about?

It all happened thanks to Steven, the head of Constellation Tatsu, who introduced me to Naoki, aka 微風ゾーン Bifuu_ZONE / Tsudio Studio.

We had both released music on the label's Winter Batch and started exchanging emails. At the time, Naoki was helping organize an event alongside an exhibition at the SHUTL art gallery, which also featured live performances and DJ sets. The lineup had already been finalized, but he was incredibly kind and generous enough to make room for me, giving me the opportunity to perform my very first live set as Personal System 個人システム.

Since both the event and the exhibition revolved around the theme of liminal spaces, I decided to create something entirely new and exclusive for the occasion.

It couldn't have turned out any better. I met wonderful people, the gallery is a very beautiful space, and I had unforgettable days in Tokyo.

For the new album, were there specific films, TV shows, or artists did you use for any inspiration?

For this one in particular, I kept thinking about the days when you could walk into a video rental store and browse the shelves for a VHS to take home. I've been feeling really nostalgic about that time, and this album is essentially a reflection of those memories.

I imagined this album as the soundtrack to one of those obscure films you'd rent on a whim, with no idea whether it would be any good, only to discover you'd stumbled upon a hidden gem. A lot of the inspiration came from the work of David Lynch, the Wachowskis, and Satoshi Kon, to name a few.

Have you performed live before ? What was your live setup for your show in Tokyo ?

Only as Nørus. As Personal System 個人システム, it was my very first live performance.

For the show in Tokyo, because of the travel and all the logistics involved, I wanted to keep the setup as compact as possible. I used my MPC Live II and a MIDI keyboard, which handled about 90% of the performance, along with a Walkman for some transitions and textural layers throughout the set. Everything was routed through an Allen & Heath ZED-6 mixer.

How much of the album is original compositions versus samples ?

I'd say around 95% of it is original. I generally sample when I'm aiming for the most natural-sounding elements and can't quite achieve the desired result by programming them myself.

How do you feel the sound of Personal System 個人システム has evolved since that first record?

I feel like the ideas and concepts behind the project have become more refined and fully realized over time. I've also been spending more time studying music theory, and I've been able to add a few more pieces of gear to my studio, all of which have helped me get closer to the sound I've been chasing.

What are some of the albums/artists you are listening to heavily right now ?

Recently, I discovered a track called "False Prophet" from Shades of Shadow, a collaborative album by guitarist Paul Speer and keyboardist/percussionist Leroy Quintana. Since then, I've been diving deeper into both of their catalogs and have come across some real gems.

I've also been listening to a lot of Jon Hassell, Tangerine Dream, Eric Dolphy, Jim Hall, Steve Roach, Manuel Göttsching, Ron Carter, among many others..

Check out the latest release from Personal System 個人システム .

Available on CD & cassette