Interview with Asakawa Ryu

This time, JROCK’N’ROLL would like to introduce someone we’ve been supporting since 2016. If you’re a fan of Visual Kei, you’ll definitely recognize this name.
He founded the music label “Double River Record” in 2010 and has been running the live venue “HOLIDAY NEXT NAGOYA” since 2017. 
Asakawa originally started his music career as the vocalist in a Visual Kei band.
What path did he follow, and what experiences did he gain in Japan’s music industry?
Take a look at Asakawa’s journey through this interview.

■ Could you introduce yourself and share a memorable story?

Asakawa: I’m Asakawa Ryu from Double River Record & HOLIDAY NEXT.
Do you want a story from my band days or from after I moved behind the scenes?

■ You were active in the band VALERNA, then formed ∀ile≠de〔Σu〕-> Eile de Mu, and later worked as the manager for Anjyu’, while also expanding your activities to running the live house HOLIDAY NEXT NAGOYA and the label Double River Record. Is all of this correct? If there’s anything else in your career history, I’d love to hear it!

Asakawa: That’s all correct! It’s impressive that that info is known! (laughs)

■ For each band you were in, please tell us a particularly memorable episode.

About VALERNA:
Asakawa: That was more than a quarter-century ago, so I don’t really remember anything (laughs).

About Eile de Mu:
Asakawa: This band made me truly feel, for better or worse, how harsh the music world can be. I was really happy that S-CUBE (スキューブ)(FWD) released our CD!

■ If it’s okay to ask, could you tell us why VALERNA and Eile de Mu disbanded?

Asakawa: I don’t remember VALERNA… probably a fight (laughs).
For Eile de Mu, the main composer said he wanted to become a hairdresser and quit the band…

■ What made you want to become a vocalist? And if there was anyone who particularly influenced you, please tell us!

Asakawa: It was Kiyoharu from Kuroyume.

■ What is it about Kiyoharu-san that you find charming/attractive?

Asakawa: I was shocked when I saw Kuroyume’s CD’s lined up at a CD shop. At a time when most bands had English or French names, the Japanese name “Kuroyume” (黒夢) really stood out.
Their live performances also had a huge impact, and I was completely captivated by his unique voice. I was heavily influenced by him.

■During all this time, have you ever met Kiyoharu-san in person?

Asakawa: Unfortunately, I still haven’t met him yet.

■ Why did you eventually step away from being a band member?

Asakawa: I was 28 when Eile de Mu disbanded. At that time, I didn’t have the energy to start a new band from scratch at that age. Unlike today, bands back then were usually short-living bands. Still, we managed nearly 5 years of activity with Eile de Mu.  Looking back, I think we could have done more.

■ I see! Looking back now, do you think there was anything more you could have done or pushed further?

Asakawa: It depends on the era, but there are band members in their 30s and 40s who are still active, so compared to that, retiring at 28 feels like maybe I could have kept going a bit longer now that I think about it. It’s not that I have anything specific in mind that I could’ve done…

■ What did you gain from your own band activities?

Asakawa: The people I met back then are still connected to me through work today. I truly believe that the connections between people are the greatest treasure.

■ You’re also running Holinelu Café, right?! I always thought it was just a regular café rented out for special in-store events by bands and idols.

Asakawa: That’s right! Since I have no experience running a real restaurant, I thought there was no point unless I incorporated my knowledge of live houses and music into it! I want to get serious about turning it into a real café soon too! (laughs)

■ What made you decide to take over the management of HOLIDAY NEXT NAGOYA?

Asakawa: Why indeed!? Well, partly because no one else was going to do it, and I thought, “If Asakawa doesn’t do it, who will?!” (laughs)

■ Why does the “norma” (ticket quota) system still exist in Japan? Some say it’s an outdated system, and it seems to make survival especially hard for new bands. The very idea that bands have to pay a fee just to perform feels strange. Could you explain, in a way that both bands and fans can understand, why the quota system is considered necessary — or whether it actually isn’t?

Asakawa: Hmm… Actually, I haven’t charged quota for the past 10 years or so.
When I was in a band, we did have a ticket quota, but since we were a local band from Nagoya, we were treated as a touring band and were exempt from it.
That experience influenced me, so even after moving behind the scenes, I decided not to impose quota.

■ I understand it’s related to quota, but every time I come to Japan I’m surprised that you have to declare at the door which band you came to see. Some days it’s easy to choose, but when it’s an event with multiple bands I love, having to pick just one is genuinely difficult. Why can’t the revenue just be split equally? Or is this system mainly to track each band’s drawing power?

Asakawa: The survey at entry directly affects each band’s guarantee (payment).
Unless it’s a very close-knit two-band bill, revenue is almost never split equally.
Even among friends, pay is usually divided based on attendance numbers.
Bands care about numbers (attendance) much more than fans realize.
With a taiban, it’s a competition — there are winners and losers. And most band members hate to lose.
Even for one-man lives, they work hard toward attendance goals, so fans should cast that one vote with true mortal seriousness. (Always vote for your absolute favorite)
For the band members, it feels like a presidential election (laughs).

■ Here’s an idea — how about a simple form where fans can select which band they came for? Especially choosing between your favorites, is really difficult. 

Asakawa: Even so, please choose (wisely)! (laughs) Your single vote can change a band’s fate.

■ Do the vote counts affect how events are organized or the choice of the next two-band billing?

Asakawa: They do! The basic criterion for whether a band can play an event or not is pretty much their draw (attendance numbers).

■ In 2010, you founded your own label Double River Record. What was the trigger that made you want to start a music label?

Asakawa: The inspiration for creating my own record label was born from a desire to support and empower bands.

■ What do you find particularly difficult about running a music label?

Asakawa: It’s an era where you never know what will hit, so everything feels difficult all the time. Also, Visual Kei bands cost a lot of money… (laughs)

■  For visual kei bands, what part costs the most money?

Asakawa: Music videos and costumes, I’d say! Even for regular lives, makeup costs are unavoidable, so compared to other genres, a lot more money is spent overall.

■ How many staff members does Double River Record have? And what are their names?

Asakawa: Including part-time venue staff, about 5 people. I’ll keep names private, but there’s one cool guy with a name like a Kamen Rider protagonist! (laughs)

■ As the president of the label, is there anything you regret? For example, any choices you wish you’d made differently?

Asakawa: Nothing so far.

■ What part of managing Visual Kei bands feels especially rewarding?

Asakawa: When an affiliated band puts on a great live show.

■ Before COVID, it felt like Visual Kei was declining a bit, but after COVID it somehow revived, and with support from overseas fans, it seems to have regained popularity. Do you also feel that Visual Kei has regained some popularity?

Asakawa: I do!

■ Where do you personally feel the rising popularity of visual kei the most?

Asakawa: Somehow… it feels like overall attendance numbers have increased 💦

■ How do you think the Visual Kei scene has changed in recent years? If so, in what ways?

Asakawa: Indie bands can now make a living just from music. They’re evolving by incorporating good elements from other scenes.

■ Have the fans changed with the times as well? If so, how?

Asakawa: Thanks to “oshi culture” (stan culture), fans’ mindset has changed. In Japan, the term “oshi-katsu” (support activities for your favorite) was even born.

■ It’s a wonderful culture, but when fans only support individual members rather than the band as a whole, doesn’t it actually make it harder for the band to survive?

Asakawa: That might be true! But I don’t think we’re in an era where each person is tied to just one band, so I think it’s totally fine for the members to do various solo activities or other kind side activities. Gaining fans through these activities means that when everyone gathers again for the main band, the collective power is enormous. This is just my personal opinion, though…

■ How do you build good relationships with artists and other labels so that everyone can collaborate at events?

Asakawa: Probably just by going out drinking together.

■ What should people who want to become Visual Kei band members be careful about?

Asakawa: When starting a band together it might be good to check the motivation level of each member and see if everyone’s motivation is the same.

■ You mentioned “it’s better to check your motivation.” As a visual kei bandman, how much passion or drive do you think is necessary to keep going? Conversely, are there any “dangerous” or NG types of motivation—like mindsets that could be risky?

Asakawa: There are all kinds, but to put it simply: wanting to make a real major-label debut vs. being fine with staying an indie band—those kinds of clear opposing stances.

■ What abilities or qualities do you look for in aspiring Visual Kei band members?

Asakawa: Mental strength.

■ Even though you left being a band member long ago, the bands you’ve managed have disbanded, new bands have formed, and the scene keeps moving. What continues to drive you to keep managing Visual Kei bands?

Asakawa: Because I love it.

■ Overseas, people often ask “What exactly is Visual Kei?” if you were to define Visual Kei, what elements do you think are important?

Asakawa: By definition, I’d say bands that wear makeup, but beyond that, the charm lies in the freedom and wide range of musicality and expression.

■ What was the trigger for forming NETH PRIERE CAIN?

Asakawa: The members contacted me first. They actually came to discuss their debut live under a different band name, but I talked to them about a sibling band project which I had in my mind and ended up absorbing the whole band! (laughs)

■ What do you want to achieve with NETH PRIERE CAIN?

Asakawa: A world tour.

■ What are your recommended songs from NETH PRIERE CAIN? And why?

Asakawa: I like quite a few, but KINSENKA, Pandora, and Lucifer are up there. Why? I love fast-tempo songs… among other things, that’s the vibe.

■ NETH PRIERE CAIN went to Korea and performed with Madmans Esprit — that’s an amazing achievement! How did the members react when you told them “NPC is making its Korea debut!”? Any episodes from that?

Asakawa: By the time this interview is published, the Korea show will already be over, but the members really fell in love with Korea.
More people came than at our Nagoya shows — at this rate we might become a Korean band (laughs).

†2025 12.7 OCTAVARIUM†

■ Do you have any plans to start and manage a new band based in Nagoya?

Asakawa: Not at the moment. But if someone volunteers, I’m always ready.

■ Also, the local Nagoya Visual Kei band 麗麗-reirei- is still with Double River Record. Since they decided to be mostly locally active in Nagoya, it feels like the band’s visibility has increased. From your perspective, what is 麗麗-reirei-’s greatest charm?

Asakawa: Their comedian-level humor, I guess! Also the fact that people of all ages and genders can fully enjoy their lives.

■ I heard a few years ago that 麗麗-reirei- was considering disbanding. Yet you continued supporting them to reach their goals. What potential did you see in 麗麗-reirei- that made you think, “They absolutely shouldn’t give up yet”?

Asakawa: They have a truly one-of-a-kind stance, so I want them to keep going even if it kills them. I want them to continue as 2nd-generation 麗麗-reirei- 3rd-generation 麗麗-reirei-— all the way to their grandchildren’s generation (laughs).

■ Congratulations to 麗麗-reirei- for receiving the “Excellence Award” in the AED Merit Award. It’s truly a wonderful achievement. By the way, whose idea was it to incorporate SOS response training for 麗麗-reirei-san? At present, I believe there is no other band where not only all members but even the fans are capable of emergency response.

Asakawa: Thank you very much!
麗麗-reirei- has many connections with local companies, so it started with an offer to perform at the Nagoya Disaster Prevention Summit. We’ve done disaster prevention-related work several times, which led to AED training and promotion activities.

『AED功労賞「優秀賞」』
『ツナグ”Life”プロジェクト』
『ナゴヤ防災サミット』

■ A lot of people say “Nagoya-kei is already dead.” What do you think about that opinion? Personally, I feel that the bands born under you have a unique charm that Tokyo or Osaka bands don’t have. So even if the shape or atmosphere has changed, I believe Nagoya-kei definitely still exists. What do you think? Can we still say Nagoya-kei is “alive”?

Asakawa: I think the Nagoya-kei of that era is gone.

■ Is a new era currently dawning for the Nagoya-kei scene? Or rather, is the gap narrowing between bands based in Nagoya and bands from Tokyo or Osaka?

Asakawa: Hmm, hard to say~ A new era might be upon us! 
By the way, whenever I listen to bands from Tokyo or Osaka, I always think, ‘I’m so glad my bands are from Nagoya!’
I’ll leave the meaning of that up to your imagination.

■ What challenges do you want to take on in the future?

Asakawa: Opening a new live house branch.

■ Can you speak any languages besides Japanese?

Asakawa: Asakawa English.

■ Can overseas fans buy directly from the Double River Record official web shop?

Asakawa: I don’t think so… (sweats)

■ Finally, a message to Visual Kei fans around the world, please!

Asakawa: Thank you so much for loving Visual Kei, Japan’s unique culture.
Visual Kei is a genre with infinite possibilities, where anything is possible.
Please look forward to Visual Kei continuing to evolve more and more in the future.
Thank you very much!