INTERVIEW: FUUK
Tokyo-based producer FUUK crafts music that moves with a quiet sense of intention—blending the pulse of deep house and melodic techno with the textures of nature and memory. His sets and performances have drifted across Japan, Taiwan, and Hong Kong, connecting dancefloors and radio stations alike with a style that feels both grounded and dreamlike. There’s a fluidity to FUUK’s world—one shaped as much by Japan’s seasonal rhythms as by the spaces he performs in. His new release, Cloudy EP, leans into that atmosphere: six tracks that stretch from spring’s slow bloom to the stillness of winter, built on soft synth layers, drifting rhythms, and subtle emotional tension. It’s a record that rewards patience and invites immersion. We caught up with him to talk about seasons, studio rituals, and the art of subtle storytelling through sound.
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Can you tell us where you are in the world? What do you hate? What does your daily life look like over there?
I'm Japanese. I lived in Osaka from when I was born until I turned 30. Now I live in Tokyo. I spend my days working, making music, and enjoying life in the city.
Osaka is still my favorite place. People there are different. More open, more relaxed. There’s a warmth and humor in everyday conversation that you don’t always find in Tokyo.
Tokyo is exciting and fast, but it can feel a bit closed off sometimes. There are things I don’t like about Japan, but I don’t really want to talk about those. I’d rather focus on the good parts.
You’re releasing Cloudy EP, which follows the rhythm of Japan’s seasons. Could you talk about how nature or the changing seasons inspire your music?
Japan has four seasons, and each one has its own sound, its own weight in the air. When winter comes and the air gets cold, I start to make music that sounds colder too — more space, more echo, more stillness. When it’s summer and the heat is strong, I feel like making harder and louder tracks, with more movement and tension.
It’s not something I plan with logic, but I think the seasons naturally shape my feelings, and those feelings shape the tracks. Cloudy EP is like a sketchbook of those emotional shifts.
What did you want listeners to feel or imagine when hearing this record from start to finish?
I want people to imagine something positive. Something that helps them feel a little brighter in their daily life. Like sunlight through clouds, or a walk alone where something suddenly makes sense. If it helps even one person see the world in a slightly softer way, that’s enough for me.
When you’re working on new music, what’s your favorite part of the process?
Since I make electronic music, I pay close attention to how each sound feels. I think every sound has its own role. Even small things like a kick, clap, or hi-hat can carry meaning.
I really enjoy that moment when all the sounds begin to breathe together — when the structure disappears and it just feels like music. That’s the moment I chase. On Cloudy EP, I tried to let the sounds speak clearly, with enough space for listeners to hear their own thoughts between the beats.
Is there one track on Cloudy EP that feels especially meaningful to you?
Yes, the track YAMA is special to me. In Japanese, yama means mountain. I really love mountain climbing, and I’ve had many emotional experiences while standing at the top. It's a kind of silent joy — standing above everything, after so much quiet effort.
I wanted to express that feeling through music. It’s not just about nature. It’s about the moment you finally see the whole landscape, and you realize something has changed inside you too. It’s a personal track, and I think you can feel that in the sound.
What advice would you give yourself if you were starting today? Or what advice would you give to a young musician or DJ just getting started?
Don’t think too much. Just keep making songs. Make as many as you can, and let people hear them.
If you just keep your music to yourself, it’s a waste. Share it online, even if it’s not perfect. You never know who might connect with it — and each time you share, you grow.
What would be your desert island plugins or hardware tools? Are there VSTs you couldn’t live without? What do you like about using them?
For drums, I use Analog Rytm MKII a lot. For VSTs, I often use Diva, Repro, and Hive2 by u-he.
Among them, Repro is the one I always come back to. It has a sound that really fits what I’m trying to do — warm but precise. It lets me shape small details in a way that makes the whole track feel more human.
What was the last track by another artist you were obsessed with? Tell us how you encountered it, when you would listen to it, and why it obsessed you.
Lately I’ve been into Joris Delacroix. I found one of his live sets on YouTube and it really impressed me. The way he builds his sound is amazing — so immersive, but still emotional. It’s the kind of music that makes time feel slower.
There aren’t many Japanese artists doing what he does, so it felt fresh to me. I’m always inspired by artists like that — who make something that’s technically strong but still poetic.
Thanks for doing this Q&A! What do you have coming up in the next few months? Feel free to plug anything.
Thanks. I just released Cloudy EP, and I’m really excited to play it live. Performing the new tracks always brings out something different.
Follow FUUK online
Bandcamp | Beatport | SoundCloud | Instagram | Website
Disclosure: This post contains affiliate links. If you buy something through these links, I may earn a commission at no extra cost to you. As an Amazon Associate, I earn from qualifying purchases.