Interview by Shunki Hirata
After two years in the making, HISATOMI’s album Anachrorhythm is finally complete. In this two-part in-depth interview, he shares the story behind the project.
In Part 1, he talks about the meaning behind the album title and his deep connection to reggae from the '90s and 2000s. Part 2 dives into more personal territory—his bond with longtime collaborator Komori Takashi, the feature with 775, and his passion for lyricism.
Answering With “Anachrorhythm” – A Two-Year Journey
── First of all, congratulations on completing the album Anachrorhythm. It’s been a little while since its release—how are you feeling about it, and how has the reaction been?HISATOMI: Thank you. This was a project I worked on with producer Komori Takashi over a span of about two years, so I’m honestly just relieved it’s finally out. At the same time, the response from people in the industry and listeners has exceeded my expectations—it’s been really encouraging and uplifting.
── I noticed some familiar names reacting on social media—MINMI, for instance?
HISATOMI: Yeah, we’ve collaborated in the past, and it seems like she really liked the throwback reggae feel of this album too.
── Where did the title Anachrorhythm come from?
HISATOMI: It’s a play on “anachronism,” which means something outdated or from a different time. I added “rhythm” to it and made up the word “Anachrorhythm.”
── What does that title mean to you personally?
HISATOMI: The whole concept of the album really started with the track “Rakuen” featuring DOZAN11. That song was born from trying to reimagine the world of 90s ragga hip-hop.
In reggae, some artists chase the latest sound, but others—like in hip-hop with boom bap—go for something a bit raw and deeper. I’m definitely the latter. I’d rather dig into what I think is cool than chase trends. As we were working on the album, I was vaguely thinking about the title, and when I came across the word “anachronism,” I knew that was it. I added the “rhythm” part to make it feel more original.
── So “Rakuen” was the jumping-off point, and the 90s ragga hip-hop vibe shaped the overall sound?
HISATOMI: Exactly. I’m getting into my late 30s, heading toward my 40s, and I want to make music that feels natural for that stage of life. Fast BPM, four-on-the-floor, fashion-forward tracks—I’ll leave that to the younger artists. I wanted to go with a style that suits where I’m at in life.That’s the direction I went with this album.
── Are there specific 90s or early 2000s songs that really influenced you?
HISATOMI: For sure. In the title track “Anachrorhythm,” there’s a lyric that goes “mizuwari, ryokuwari, born from Diwali.” That line’s about the Diwali Riddim from around 2001. I was totally immersed in reggae around that time—it had a massive influence on me. You’d hear that riddim at every club back then, it was huge.
── I didn’t experience that era firsthand, but watching old videos, it looks wild.
HISATOMI: Yeah, looking back now, it really was a major boom.
── Komori-san, how about you—what kind of music influenced you during that time?
Komori Takashi: Like HISATOMI mentioned, our generation was in junior high when Diwali was blowing up, and that’s when I started listening to reggae. I was into J-POP too, and there were actually a lot of J-POP songs that had hidden reggae elements. I’d often realize, “Wait, this is reggae too?” Especially tracks with a jungle-type rhythm used in anime endings—that was a big influence.
The Tracks That Color “Anachrorhythm” – Behind the Music
── Let’s dive into a few selected tracks from the album. Starting with the opener, “Introduction”—it has this uplifting instrumental feel, blending reggae and rock. What kind of ideas or images inspired it?
Komori Takashi: HISATOMI and I often watch live videos of Jamaican artists together in the studio. That band-style intro they use when coming on stage is just so cool, and I wanted to bring that vibe in. We already knew “Anachrorhythm” would be the first full track, so this intro was designed to lead naturally into it—something that could also work at live shows. I carefully planned out the key and flow. During mastering, we shortened the gap between the two tracks so it hits hard, like a live set. The idea was to carry that energy through the first three or four tracks.
── Why did you choose “Anachrorhythm” to kick off the album?
Komori Takashi: That decision came after we had all the songs done.
── What’s the concept behind the song itself?
HISATOMI: I guess you could say I’m “going against the times”—a time-traveling uncle, you know? (laughs) It’s inspired by 2000s dancehall, especially the Diwali vibe I mentioned earlier. Since I’d already settled on the album title, I wanted to write a track that really embodied “Anachrorhythm.” It kind of acts like a mission statement for the whole album.
Anyway, I figured, if the 90s and 2000s are getting a revival, why not revive myself too? (laughs) That’s why I call myself a “revival uncle.” So for anyone who’s known me since back then, this song has some little throwbacks they might catch.
── I’ll have to check it out.
HISATOMI: It’s kind of embarrassing now. There’s a line that goes something like, “Even the four of them couldn’t beat me now.” (laughs)
Komori Takashi: Yeah, it’s danceable—four-on-the-floor.
HISATOMI: I had him throw in horns and brass to give it some fiery energy.
── Did you start with the riddim and then write the song? Or was it more collaborative?
Komori Takashi: We’re usually building the beat and writing the lyrics at the same time. I start building the beat, and then if the lyrics change, I adjust the track. We actually scrapped about three songs this time because they felt too similar or just didn’t add value.
── So you both give each other feedback as you go?
Komori Takashi: For sure. We handle different parts, but it’s all very collaborative.
HISATOMI: I usually don’t give much input on the track itself, except for small tweaks. I trust him with that side completely.
Komori Takashi: When we’re in the studio, I’ll check in early like, “What do you think about this direction?” Sometimes HISATOMI will throw melodies at me even when the beat’s not finished yet. It’s very back-and-forth.
── Did you intend to link “Shall We” with the skit that comes right before it?
Komori Takashi: That was totally my decision. I broke the album into a first and second half, and the skit helps shift the vibe. The second half has songs like “Do the Reggae Man” and “Bosuritai” that are pure reggae vibes.
HISATOMI: Yeah. It was actually finished two years ago. It’s packed with reggae tropes you’ll definitely recognize. But at the time I was like, “Is this really worth putting out as a single?” In the end, it ended up fitting perfectly on this album.
── One thing that stands out throughout the album is your wordplay and rhyme schemes. Have you always been focused on that?
HISATOMI: I wasn’t good at it at first! But at some point, I realized—wait, maybe I’m better than most? (laughs) For this album, I really focused on structure, metaphors, and double meanings. I wanted to be seen more as a lyricist than a melody maker.
── Why that focus on lyrics?
HISATOMI: Honestly, I feel like lyrics are all I’ve got to give to the world. That’s my unique selling point, and I want to keep sharpening it.
IN THE MOOD 16 – HISATOMI (Part 2)
https://sd.reggaezion.jp/articles/hisatomi_interview2_english