Kosei Fukuda: The ‘Monday Is OK’ Mix


Through his ambient and experimental compositions, Japanese artist Kosei Fukuda is on a mission to guide the listener to connect with their inner spirituality. 

In 2018 he launched his REITEN imprint as an experimental arts platform for his own productions, of which there have been many (13 to be exact). Last year he opened the platform to his contemporaries for the label’s first V/A release, a collaboration with Tokyo’s Ensō Festival which saw artists like Rabih Beaini, Lemna and Renick Bell join him to explore the corners of ambient and experimental. 

These are the sonics that make up his Monday mix for us. One for the insomniacs, for the early risers and the day dreamers, Kosei blurs the blissful and the discordant, urging you to connect with yourself and the environment around you.

Please introduce yourself… Who are you, where are you, what are you?

My name is Kosei Fukuda, Japanese artist based in Tokyo and Berlin. Currently stuck in Japan and I am back and forth with my studio in the mountain bit away from Tokyo. I am an artist, composer, curator and organizer. I run my own imprint REITEN and organize events at several locations with several projects, including Ensō Festival.

Tell us about the Monday mixtape you’ve put together for us. 

Midnight trip to prepare yourself towards repetitive nor unrepetitive daily life.

What would be the ideal setting to listen to the mix?

Good sound system or nice pair of earphones or headphones.

An hour before the sunrise would be nice.

Where was it recorded?

At my house above my studio in the mountain.

Are you on the same wavelength as the boomtown rats or do you actually like Mondays?

I hate the tensions on Monday mornings. Especially in the city.

Who would you say are your biggest influences and what are you hoping to achieve with your music?

Kūkai and Steiner. To guide audiences to interlink with their inner spirituality.

What were your original aspirations as musicians and how do you think you’re shaping up?

Obsession and Experimentation. I am heading right direction so far.

I feel very comfortable with this format at this point and it is simply a bliss to have an ability talk in your own language.

How does your brain work when making music? How does it work when you aren’t?

Matter of how deep I can dive into this meditative state and capture certain emotions, feelings and the energy. 

It is necessary to be precisely obsessive, yet knowing the right balance to let go, which is very hard things to do. Sometimes it can be harmful and painful. At worst condition I am extremely stressed and edgy. I feel much more relaxed when I am not in a pain.

What were the first and last records you bought?

Few copies of old time classics at Japanese auction.

Philiip Glass – Dance Nos. 1 And 3, Art Ensemble Of Chicago Live In Japan from DIW and Einstürzende Neubauten 80-83.

What are you obsessed with at the moment?


Anything else we need to discuss?

My double album “流転 RUTEN” is out digitally and physically.

Follow Kosei Fukuda and REITEN