【インタビュー】Mndsgn | 音楽はただ生きてることの副産物
LAのビートシーンを代表するアーティスト、Mndsgn（マインドデザイン）。Stones Throwを代表するシンガー／プロデューサーとして知られ、ビートメイカーとしての確かな手腕はもちろん、歌、鍵盤、アートワークまで自ら手がけるマルチな感性で、ヒップホップを軸にソウルやジャズ、R&Bなどジャンルを横断しながら、独自の世界を築いてきた。
そんなMndsgnは1988年生まれの同世代であり、レーベルメイトのKnxwledge（ノレッジ）と共に来日ツアーを開催。今週末6月7日（土）の東京公演から、福岡・大阪・名古屋の全4都市を回っていく。今回のインタビューでは、TAMTAMの高橋アフィによる質問を軸に、“音楽” “アート” “日常”を軽やかに横断する彼の視点に迫った。
インタビュー質問内容: 高橋アフィ（TAMTAM）
インタビューコーディネート＆通訳・翻訳: 吉岡宏太、船津晃一朗（Stones Throw Japan）
撮影：船津晃一朗
- TAMTAMの高橋アフィさんからの質問です。「Bandcampでリリースされた『Frugal Earth Vol.4』が、VHSとカセットで展開されていて、すごくクールでした。VHSを選んだ理由を教えてください」
Mndsgn - 僕は80年代生まれなんだけど、VHSはまさに自分の育った時代の象徴だった。90年代の子ども時代、どうやって家にVHSテープがあったのかも覚えてないけど、気づけばいつもそこにあったんだ。それがどこから来たのかさえよく分からない。親が持ってたのか、誰かが持ち込んだのか……とにかく、当たり前のように存在していた。今ではもうVHSは“廃れたフォーマット”って感じだけど、カセットテープが復活してきたように、VHSにも同じような再評価の波がくるんじゃないかって思ったんだ。実際、もう来てるのかもしれない。CRTV（ブラウン管）でVHSを観ると、まったく違う体験になるんだよね。今の僕たちはデジタルのフラットスクリーンに慣れすぎていて、アナログの魅力を忘れてる。でも、ブラウン管で観ると、そこには“光線を観てる”っていう物理的なリアリティがある。光の粒がボックスの中で揺れてるような感覚で、それがすごくトリッピーで面白くてね。VHSやカセットの価値をもう一度見直すきっかけになればと思って、この形でリリースすることにしたんだ。
- 「Instagramでシェアしていた『Frugal Earth Vol. 4』のアートワークも最高でした。日本の90年代っぽさを感じたんですが、どこからインスピレーションを受けたのでしょう？」
Mndsgn - これは完全に、日本での買い物体験が元になってる。日本に来て、自分の好きなものを探してるうちに、日本独特のデザイン感覚に自然と引き込まれていったんだ。グラフィックデザインの歴史も深くて、すごく独自性があるよね。それにVHSってたしか日本発祥だよね？ だからこのプロジェクト全体が日本の文化にインスパイアされてる部分は大きい。アメリカ映画の日本盤パッケージって、なぜかオリジナルより特別感があるし、レコードの帯もその一つ。だから、そういう日本独特の美意識をパッケージやデザインの中にも取り入れたかったんだ。
- 「あなたの音楽には、70〜80年代のジャズやフュージョンの要素が感じられます。私自身、あなたの作品を通じてフュージョンの面白さを知りました。あなたがジャズやフュージョンに惹かれる理由は？ 初めてこのジャンルに触れた作品なども教えてください。」
Mndsgn - ジャズがフュージョンへと進化していく流れには、どこか親しみを感じるんだ。特にヒップホップでよくサンプリングされているような音には橋渡し的なつながりがあると思っていて、レコードを掘っていくなかでその共通点に自然と気づいていった。当時のフュージョンは、伝統的なジャズから進化しつつ、テクノロジーや他ジャンルの影響を受けて新しい形に変化していった。そういう変化が、ヒップホップで聴いてきた“あの音”と重なる感じがするんだよね。最初に好きになったのは……厳密にフュージョンと呼べるかは分からないけど、GRP Recordの作品たち。Dave GrusinやDon Blackmanのレコード、あれは自分にとってまさにフュージョンだった。あとは80年代初期のGeorge Dukeサウンド。そして80年代後期になると、シンセや新しい技術によってサウンドがさらに変化する。Paul Hardcastleとか、Jazzmastersシリーズ、Najeeみたいなサックス奏者。あのあたりになると“スムースジャズ”と呼ばれるようになって、Kenny Gなんかもその流れだね。70年代や80年代前半を掘っていって、そこを超えて80年代後半〜90年代初頭の音楽に行きつくと、また新しい発見があるし面白い。Knxwledgeと僕は88年生まれだから、当時のEarth, Wind & Fireを掘ってるのもなんだか不思議な感じがしてさ。音楽の進化って、本当におもしろいんだ。
- 「ファッションやアートワークのセンスも素敵ですが、今日の服装でお気に入りのポイントはありますか？」
Mndsgn - ハハハ……ひとつ挙げるより、“快適さ”っていう要素がどんどん大事になってきたと思うんだ。見た目が良くてフレッシュに感じられるのも大事だけど、着ていて体が不快だと意味がない。なんでわざわざ我慢するの？ってね。トラックパンツに軽めのジャケット、そしてハイキングブーツみたいなスタイルは、自分にとってすごく快適で気持ちいい。気分もよくて、“よし、外に出よう”って思えるスタイルなんだ。
- 「日本で必ず立ち寄る場所ってありますか？」
Mndsgn - もちろん定番の東京や大阪は好きだけど、お店で言うと《kapital》はやっぱり面白い。あそこはほとんどインスタレーション（展示）みたいな感じで、アートとして見るのが楽しい。独特なシルエットとか、ほんとにクールなピースがある。実際に自分のスタイルに合う服を買うとなると、nanamicaとか、The North Faceのパープルレーベル、それからBEAMSもいいね。カジュアルで快適な服が揃っていて、自分にぴったり。
- 「2023年にリリースした『U SHOULDA LET GOD COOK』では、“I KNOW IT'S POORLY MIXED, BUT IF I CARE TOO MUCH, THINGS LIKE THIS WILL NEVER COME OUT.”（ミックスが甘いのは分かってるけど、気にしすぎたらこういう作品は生まれない）という一文が印象的でした。この作品のラフな質感がとても好きですし、最近あなたが多くの音楽を発表しているのも嬉しく感じています。アルバムをリリースするタイミングやきっかけはどんなときですか？」
Mndsgn - しっかり作り込む作品では、細部にまで気を配るけど、その一方でもっと衝動的で、自由なリリースも必要だと思ってる。Bandcampで出してる作品は、そういう自分にとっての“気にしすぎない場”なんだよね。気にしすぎると逆にダメになることもある。だから、Bandcampではとにかく「出すこと」が大事。人によっては、それをフルアルバムと同じくらい楽しんでくれるし、だから自分にとってもあの場は大切な場所。ラフで直感的な作品を出すことで、バランスを保ちながら、自由で楽しい作品も定期的に出すようにしてるんだ。実はアニメとか映画も作りたいんだよね。
- 「あなたの音楽は、古いライブラリーミュージックや映画のサウンドトラックのような“雰囲気”を持っています。作曲のときに意識していることはありますか？」
Mndsgn - うん、その時々で違うんだけど、頭の中で“音が聴こえてくる”ところから始まるときは、すごく祝福されたような気分になる。それはまるで、自分を通してどこか別の場所から降りてくるような感覚。そういうときは特に手応えがある。逆に、ただ音をいじってるうちにだんだん形になっていく“プロセス型”の作り方のときもある。どちらになるかはそのとき次第だけど、どちらにしても大事なのは「創造の流れを止めないこと」そして「できるだけジャッジをしないこと」。ある程度できあがるまでは、評価したり批判したりしないっていう姿勢が大切だと思ってる。
- 「2023年のインタビューで、70〜80年代のアルゼンチン音楽に影響を受けたと話していました。それから2年ほど経ちますが、最近はどこからインスピレーションを得ていますか？」
Mndsgn - 今も南米のフュージョン、特にアルゼンチンやブラジルの音楽から影響を受けてるよ。でも最近は、MadlibやLootpack、Quasimotoを改めて聴き直してる。世界中のレコードを掘ることで、逆に自分がずっと馴染んできた音楽に対する感謝が深まったというか、初心に帰る感じがあるんだ。自分は根っこではB-BOYだから、Lootpackの『Soundpieces: Da Antidote』とか聴くと、自分の中にずっとあったものが再点火される気がするんだよね。Madlibの音楽って、なんでか分からないけど、今またすごく刺さってる。
- 「2023年のバンドセットでのライブは、音楽以上に“精神的な体験”のように感じられました。スタジオ制作とライブでは、意識することは違いますか？」
Mndsgn - ライブに関してのいちばんの信条は……練習！ 特にバンドと一緒にやるときは、やっぱりリハをどれだけ重ねたかがすべてなんだよね。 十分に練習をしておけば、ステージに立ったときにあれこれ考えずに“ただ楽しめる”ようになる。でも逆に、ステージ上で「あの部分どうするんだっけ？」とか考えながらだと、全然楽しめなくなってしまう。だから、どれだけ“無心になれるか”っていうのが、バンドセットでのライブの鍵だと思う。
- 最近気になっているアーティストやレーベルはありますか？
Mndsgn - アルゼンチンのLitto Nebbiaというアーティストがすごく気になってる。70〜80年代に活躍して、今も現役でMelopea Recordsってレーベルをやってる。彼のスタジオは今でも残ってて、地域のミュージシャンたちの拠点になってる。『Rare Pleasure』も聴いてくれてるみたいで、アルゼンチンに行くときは会えそうな気がしてるよ。
- 「『あなたの音楽に影響を受けて、自分の音楽活動を始めました』という声をよく聞きます。キャリアの中で『これはやってよかった』と思うことや、音楽を続けるうえで大切にしていることがあれば教えてください。」
Mndsgn - うん……やっぱり、音楽っていうのは、僕にとって“ただ生きていることの副産物”みたいなものなんだと気づいたとき、すごく楽になった。音楽そのものに過剰なプレッシャーをかけなくなったし、それよりも“人生をどう楽しむか”“どこでインスピレーションを得るか”に意識が向くようになった。それが音楽に自然と反映されていくというか。そうなると、音楽は“人生で得たすべてのことの通り道”になる。ただそれだけで、十分だと思ってるよ。だから、まずは人生を楽しむこと。それが一番大事かもね。
Knxwledgeのインタビューはこちらから。
Info
Artist: Mndsgn
Title: SIXUNDRGROUND
Release Date: 2025.06.02(Mon)
Label: Stones ThrowListen: https://sthrow.com/sixundrground
STONES THROW JAPAN TOUR 2025
KNXWLEDGE | MNDSGN
presented by CARHARTT WIP
＜東京公演＞
日程：6月7日（土）
場所：MIDNIGHT EAST（Spotify O-East & Azumaya）
【 O-EAST 】
KNXWLEDGE (NxWorries | Stones Throw | LA)
MNDSGN (Stones Throw | LA)
LIVE : ISSUGI & GRADIS NICE | STUTS
DJ : KM | ZEN-LA-ROCK
【 AZUMAYA 】
DAH-ISHI | 凸凹。| DJ SLOWCURV | GRADIS NICE | WATTER
【 EAST 3F 】
Devin Morrison | DJ Dreamboy | DJ KENTA | DJ STYLISH a.k.a 鎮座DOPENESS | 原島"ど真ん中"宙芳 | 矢部ユウナ
Info/Tickets：https://shibuya-o.com/east/schedule/0607-stonesthrow/
＜大阪公演＞
日程：6月14日（土）
場所：club JOULE
2F: MAIN FLOOR
KNXWLEDGE (NxWorries | Stones Throw) from LA
MNDSGN (Stones Throw) from LA
GUEST LIVE: Pink Siifu with Ahwlee
GUEST DJ: MURO
DJs: SCRATCH NICE | QUESTA | DY | ANCHIN
Live: S-kaine | ÄURA
Dance Showcase:
B-BOYS SESSION (KOSSY, STEEZ , TSU-JI- , KIYO , DAIKI , TOGO) | sangria | D’oam
4F: SUB FLOOR
Beat Live: Dyelo think | Tommy Beats | Dj Shucream | KazBubble | DENIM | Carelysonmay | 9ues
DJs: B.C. | LotusBoy | 723 | MAYUMIKILLER
ROOFTOP (FOOD): ビリヤニ五感屋 | SHAMELESS
Info/Tickets：https://joule-live.zaiko.io/e/stnesjapant22?_gl=1%2A1onspsh%2A_gcl_au%2AMTUyNDU5MTkwOC4xNzQ1OTM5MDYw
＜福岡公演＞
日程：6月13日（金）
場所：Theater 010
KNXWLEDGE (NxWorries | Stones Throw | LA)
MNDSGN (Stones Throw | LA)
Beat Live: OLIVE OIL × POPY OIL
DJ: KUMA | O-NO | YMG
Info/Tickets：https://t.livepocket.jp/e/vq8v8
＜名古屋公演＞
日程：6月15日（日）
場所：club JB'S
KNXWLEDGE (NxWorries | Stones Throw | LA)
MNDSGN (Stones Throw | LA)
BEAT LIVE: RAMZA, Ballhead
DJ: TETEPAZZO a.k.a CHOUMAN, CWEE, DJ HIBIKEY
Info/Tickets：https://club-jbs.zaiko.io/e/stonesnago
A cornerstone of LA’s beat scene, Mndsgn has spent years effortlessly dissolving genre boundaries, crafting a universe where hip-hop collides with soul, jazz, R&B, and beyond. As one of Stones Throw’s most singular voices, he’s more than just a producer with razor-sharp instincts—he’s a vocalist, keyboardist, and visual artist who brings a deeply personal touch to every facet of his work.
This weekend, Mndsgn returns to Japan for a four-city tour alongside longtime friend and labelmate Knxwledge. Ahead of their Tokyo kickoff, we caught up with him to explore his thoughts on music, art, and the rhythms of daily life—through a series of questions curated by Afie Takahashi of TAMTAM.
– This is a question from Afi Takahashi of TAMTAM: ”So your recent Bandcamp release ‘Flugel Earth Vol. 4” was presented on VHS and cassette. Unfortunately, I wasn't able to get my hands on a copy, but I think it was such a cool release. What led you to choose this format? I'm particularly curious about your decision to include the VHS.”
Mndsgn - Yeah. I'm an 80s baby, so VHS was really synonymous to my upbringing. You know, growing up in the 90s, like always. I don't even know how we had some of the VHS tapes we had growing up. It was just always there.I don't know if it was my parents’. I mean, somebody was getting VHSes in the house, so I feel like that was just like such a part of my childhood. And, you know, like, it's just an obsolete format now. And I feel like it was interesting to see the resurgence of cassette, you know, come back. I feel like cassettes are pretty standard now. Like, it's just as much as vinyl. And I can see VHS kind of making a similar type of comeback, if not already kind of here in a certain way. It's a different kind of experience, too, when you're watching a tape on a CRT TV. It's like, because we're so used to watching things on a digital format, like on a flat screen TV, that you kind of forget the magic of analog and like watching something on a tube television where it's like literal, cathode rays kind of... Like, you're watching, like, light rays on a box.It's like super trippy to me. So I made that decision in hopes that there would be a resurgence and re-appreciation for VHS tapes, video, cassette.
- He also liked the artwork from this release you made with Japanese text. “The visuals you shared on Instagram were really cool as well. I felt that the design had a Japanese 90s kind of style. And could you share what inspired this design choice?” What inspired you to create this?”
Mndsgn - I would say the design of the whole thing is very much a byproduct of my experience as a consumer in Japan. Being able to travel here and shop for the things that I like here, you pick up on the incredible sense of design that Japanese culture has. And it's very particular. Very unique to Japanese culture. Like, just the history of graphic designers are super deep. But even kind of linking back to the last question, it's like, I'm pretty sure VHS was invented here, right? So the whole project is very much Japanese-inspired. I love seeing a Japanese import of an American movie. It just looks so much more special than the American version. Even like the Obi strip on the vinyl, it's like, there's something just feels extra special. So I wanted that to be a part of the packaging and the design.
- “Your work carries the feelings of 70s, 80s jazz and fusion. One of the key reasons–This is just in general, your music–I started finding fusion music so fascinating that your music helped me understand how to appreciate it. What do you find the most compelling about jazz and fusion? Also, could you share any works that first introduced you to the genre or the style of music?”
Mndsgn - Something about the evolution of jazz into jazz fusion feels really familiar because I think picking up on those kind of sounds that were sampled for hip-hop music, there was that, like, bridge and connection. I think as you kind of get deeper into digging through records and samples, you're just making that connection. There was this sound that was being captured and it was during a time where jazz was coming out of, like, I guess the more traditional sense and, like, It just started evolving because of technology and other styles of music. It just felt familiar because of hearing certain things that I liked in hiphop music. But I would say initially, first……It’s funny because I don't know if it is necessarily considered as fusion in a sense, a lot of the GRP Records like Dave Grusin and Don Blackman’s record were like fusion to me. The early 80s sound like the George Duke sound. And then you go into the later 80s and that has a different sound because of the technology and the synthesizers that they had. Artists like Paul Hardcastle, Jazzmasters series, you get into the late 80s and the early 90s sound. It’s like Najee, you know, on the sax. It's funny because that kind of got watered down a little bit more and then like people just started calling them smooth jazz, like Kenny G. I don’t know—it’s interesting when you’re digging past the ’70s and early ’80s and you start getting into that late ’80s or early ’90s era. Since We're both '88 babies, and we’re digging through Earth, Wind & Fire records from that period—it’s crazy. So, it’s cool to see evolutions of music.
- “I love your sense of fashion and artworks. What's your favorite aspect of your outfit today?”
Mndsgn - Hahaha……yo, more than pointing out a particular thing, I feel like just the aspect of comfortability has continually become more and more important as far as fashion choices. Looking and feeling fresh is one thing but, if you're not comfortable physically, it's like, what's the point? You know, why sacrifice comfortability? These kinds of track pants, light coats and some nice hiking boots, I just feel really comfortable and I feel good. Feel ready to step out into the world.
- “Do you have any favorite places you always visit when you come to Japan?”
Mndsgn - I definitely like staples like Tokyo and Osaka, but as far as actual shops, I always like looking at kapital. It's kind of an installation to me. I'm looking for art and they have really cool pieces, silhouettes. But as far as shopping more for my personal style, I like going to nanamika and Purple Label of The North Face, BEAMS……you know, just cool and casual, comfortable shit.
- “On your 2023 release ‘U SHOULDA LET GOD COOK’, you wrote “I KNOW IT'S POORLY MIXED, BUT IF I CARE TOO MUCH, THINGS LIKE THIS WILL NEVER COME OUT.” I personally loved the texture of this album and I think it's a fantastic work. I've also been really happy to see you releasing so much music recently. What usually determines the timing for you when you release your album? “
Mndsgn - I think as much as there's a place for being really delicate and precious about your work, there's also a place for being spontaneous and sporadic. And I feel like my Bandcamp releases are, it's definitely a platform for me to not care as much. Because I think that that's important just as much as like the more full length albums where, you know, when it be more, when I have more attention to detail. And I think that's why I enjoy those just as much like the Bandcamp releases. It seems like people receive those as if they're like full length albums because it is important to like not fixate so much. Sometimes you fixate so much to your own detriment and like certain things will come out because you overthink it. So, yeah, I feel like in between those more delicate records, I want to keep sharing and putting out these kinds of more just free, like fun projects. You need a balance. I like making films and cartoons too.
- “Your music always have a strong sense of atmosphere. It evokes themes in a way that reminds me of classic library music and the film soundtracks. Is there anything specific you keep in mind when composing? “
Mndsgn - Umm. It depends. Sometimes I'm composing from something that I hear in my head, which I think is one of the most blessed ways of creating because it feels more like you're channeling something from somewhere else. But then there's also the more process-based approach where you're kind of just playing around until you do start to hear something. So it really just depends on which one of the two that I'm feeling. But I think if there's any one thing that I want to focus on or keep in mind is to just keep letting the inspiration flow, keep letting the creativity flow, and not criticize it too much until enough of it is done. So just being as non-judgmental as I can throughout the whole process.
- “In a 2023 interview, you mentioned that you had been inspired by 70s, 80s Argentine music and that you are becoming increasingly interested in non-sampled elements. Now that about two years have passed, where are you drawing inspiration from these days?”
Mndsgn - I’m definitely still inspired a lot by a lot of South American fusion music, like stuff from Argentina and Brazil. But lately, I've been going back to listening to a lot of Madlib and Loop Pack and Quasimoto. I feel like you get really deep into the records from all over the world, and then it kind of expands your appreciation for what you're more familiar with. I'm a B-BOY at heart, whenever I listen to something like Loop Pack ‘Soundpieces: Da Antidote’, I'm like reigniting something that's always been there. This is like a sense of foundation. But yeah, just listening to not only hip-hop, but specifically like Madlib stuff hitting lately for whatever reason.
- “Your performance with a full band during your 2023 tour was incredible. More than just playing the songs, it felt like a spiritual experience where a unique atmosphere emerged in the moment. It struck me as a very refined live performance. Do you have any guiding principles or priorities when it comes to performing live as opposed to making studio recordings?”
Mndsgn - Ooh, guiding principles when performing live……practice? I would say the more you practice, especially when it comes to performing with a band, you have to be really sharp. And you have to practice enough to a point where you don't want to be thinking too much when you're performing. And I feel like at that point, I'm able to have more fun. But if I'm thinking about the performance and the rehearsal when I'm on stage, I have the worst times performing when I feel that way. That's like the number one guiding principle as far as playing with the band and live performances. The more that I lock in and rehearse and practice, the more that I can just have fun on stage and be free and be present.
- This might be a crossover to the previous question, “Are there any artists or movements that have recently caught your attention?”
Mndsgn - I would say also, for the other question. Going back to Argentinian music, there's an artist,Litto Nebbia, who was really prominent in the 70s and 80s. I mean, he's still active now and he has a record label called Melopea Records. He recorded all the music at his studio, which is actually still around. It's cool. I heard he's actually an approachable guy. He's much older now, but pretty tapped in. He actually listened to ‘Rare Pleasure.’ Like, I think he's down to link up whenever I'm in Argentina. His record label has a lot of gems. I think they put out stuff not only from Argentina, but also surrounding countries, like Uruguay, and there's a lot of good stuff on there. So, it seems like whatever he had going on in the 70s and 80s, it seemed like his studio was a hub for a lot of local musicians in that region to have the platform and shine.
- The last question. “Many people, myself included, have been inspired by your music to pursue their own... musical journeys. Could you share any advice on what you consider important in music or things you've done in your career that you're glad you did?”
Mndsgn - Hmm……I think, honestly, when I realized that music is, for me at least, a byproduct of just living my life. I've been able to take out a lot of pressure from the music itself. And realizing that, the more appreciation or the more that I allow myself to just live life and to get inspiration from other things. It just makes my relationship with music more fun and not the high-pressure, anxiety-inducing thing that it could be. Just getting inspiration in other areas of life and then allowing that to pour into the music.Yeah, at that point, the music is just a channel for all the other things. Yeah, that's it.
