Museum of Sake Journal Summer 2016 - Page 31

GLOBAL SAKE VOICE: RICHIE HAWTIN RH: There are some beautiful vodkas that you can sip, but most things in clubs you are shooting it because it doesn’t actually taste good. For most people it is not a nice experience but a means to an end to feel good. Sake is so beautiful, elegant, and it works. Similarly with electronic music, it has a purity and balance. The best electronic music is zen-like. For me, this is what I see and feel and taste in sake. Then you go to the producer and discuss the sake, or watch how it is made and it all makes sense…. The repetition in the koji room, the trance-like repetition- this makes it apparent why it works. You don’t need to explain it. If you put people into that context and experience, one hour later everyone gets it. I want someone to walk away from one of my nights with an epiphany… that was the best taste or best track and they have a smile on their face. When I am really into something and passionate about something I know I’m very good at passing on that energy to people - I like to share it. NK: And the range of the ENTER.Sake, how did you start and select them? The process was very organic. We need to educate but we don’t want people to feel like they are in school. So in the very beginning we started with Fujioka san. Sookuu iunmai which is amazing. But I want to give people gently a reason to ask me a question. So we have moved to other kuras: black dot (honjozo) and silver (junmai ginjo) with Sekiya Brewery. Then we have a junmai from Kuzuryu, Kokuryu Brewery, junmai and junmai daiginjo from Shuhari, Matsumoto Sake Brewing, also from Next 5 limited edition. And so what this does by having different bottles and colours and different names, without even leaving the ENTER.Sake brand we can have a small little view over the sake world. ENTER. Sake is a welcoming entrance. It is not my intention that ENTER. should give them enough to ask questions and go further. So we are an incredible first step and that’s very important. That’s important because so many people’s first experience into sake is traditionally a very bad experience: table sake, warm sake. So I want to make sure whatever we have and particularly our cheapest base line – the black dot, if you put that on the table, the response is ‘wow’. If anyone drinks this and says I don’t like this, then you know they won’t like sake. We are not creating a special brew that would only work outside Japan. We want to make sake that the Japanese would drink, would work in Japan, Europe and America. RH: 中にはゆっくりと楽しめる素晴らしいウォッカもある、殆どの クラブドリンクは、美味しくないからショットとして流し込むんだ と思う。多くの人にとってそれはいい経験とは言えないけれど、最 終的に気分を高めるための手段として行なわれているよね。日本酒 はとても綺麗で、品があって、気分も高めてくれる。良い電子音楽 も同じように、純度とバランスが必要で、禅のような世界観がある ものだと思っている。僕にとって日本酒は、それが体現された飲み 物なんだ。そういう酒の造り手を訪ね、彼らと話を重ねて、酒造り を眺めてみると、それが全て一本の筋でつながる。麹室の連続性の ある動き、それはトランス音楽の連続性に通じるし、偶然とは思え ない相似点があるよね。 説明する必要はない。観客がその文脈の中で体験すれば、一時間後 には誰もがわかるのではないかな。僕が望むのは、観客にひらめき を感じて夜を終えて欲しいんだ。ベストな味、ベストなトラックを 発見して笑顔で帰宅して欲しい。自分が 熱中していたり、情熱を 注いでいるものを周囲に伝線させるのは僕の得意なことだったりす る。人とエネルギーを共有するのが好きなんだ。 NK: 「ENTER.Sake」の日本酒セレクションは、どのようにスタート して選定していったのです b'‚8gxk`c"kj8i࠹"yg8h8hgj9b8ia8 hobहfz e¸ga9. 9xi yki(xja88aj%b!jkegcjbhg ofx88k 9b'xk%9lxexbyiohg $9nk(9m8xea%9ladc8` gxeidj8ࢸbz,ecसei࠸xa8gci(xk%-xn;&e,-a:`(8kxx;"9+:a:`(;"xj8 x8;"9%9ld'a;"Bऺ`(8hg gxko8knozad`(8k.gzh+y;"8cfࢸxa"y%9l yo+:ad`(8kk9-:f"8exkࢻ"y%9lj9%9li)d'a8 xogә^ xkfd9k8¸࠸` l8j88:"l9d#ybcxह xhxjc8x QSTZxxxk.+xiy+:adk.%c8ऺ)cz)8h8 STZxk¸੸8j9dgaixࢹci yi)b!j 9b'xk. 9jxj8eicxhbdxं.#b8 xgx8byab8j`,i࠸xb8cxhbdxjj8l8j:hf8hia8¸8 i&ck.k 9b'xky+:adk/dj$k y%8byk`&ad yykad8x88l8bࢸh8bx h8byeadz`n8lki)b! ynxjky/xjx8¸$#8xx8#xk.jkcj8#8b#xj:jfa8ic dkbadc9ioxcxikja8j9'f8.ky+:ad!/dc9ioxoikja8b࠸e8ja8 mi%koi`&*8fx8jx8ह/g8xaj࠹'xja8 y+9.jj8hi࠹dlea8j9'xhi࠸xb8i yy+8 B88xx xਸxi.%jj࠸kह빣!eia8 ]NSTZH[HܛHYYSTZHXۚޛ[\STZH[\[XZH[STZH^\]]B[XZNSTZH^]H[XZHZY[STZH]H[XZNSTZHZ\H[XZNSTZHZ\H[XZHZY[˂܈[ܙH[ܛX][ۋ\]˙[\ZKBUTUSHшRHTS B