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  • Oliver Corrigan

Interview with CHAI

“Be positive, do your best, and we’ll get through this.”

CHAI’s positivity is infectious. Even though the only words we exchange are subject to emailing, their upbeat responses to my inundated questioning strikes a resounding chord with me. For many in 2020, this year has brought about an abrupt halt to proceedings yet for the 4-piece Japanese group, consisting of Mana, Kana, Yuuki, and Yuna, it’s been fruitful to say the least. Filled with the “honour” of signing to Sub Pop Records, as well as recently collaborating with Hinds and Gorillaz, CHAI now set about to release their new duo of city-pop influenced singles, ‘Donuts Mind if I Do’ and ‘Plastic Love’.


Pensive self-reflection and positivity aerate through our online conversation, yet CHAI seem determined to make the most of a diminished touring schedule as Kana claims, “we’re taking things day by day while channelling our energy into creating new material”, whilst Mana notices “my body is more relaxed when I’m not anxious, so it’s easier for me to get my creative juices flowing”. And what may they be listening to get their creative juices flowing? “Abba.” Some other musical influences are thrown into the ring, but as I’d come to find out later on, the immortal 70’s pop group lay the apt foundations to CHAI’s revamped facade.


“I want people to challenge it even more, I hope more musicians step up.”

What hasn’t changed, naturally, is their resolute spirit to debunk the notion ‘kawaii’ or ‘neo-kawaii’. If you only have the faintest idea of this group, you’d notice CHAI’s incessant sporting of the colour pink as well as championing all body types and sizes. So has much changed recently because of this? While Mana recites fans who have confided in them, Yuuki feels that there’s still more work to be done. “I want people to challenge it even more, I hope more musicians step up” she asserts, yet one role model who garners CHAI’s unconditional support is the US pop sensation Lizzo who “took her insecurities and made it into hit songs.”


Bolstered by the empowering influence of Lizzo, CHAI have recently been grounded with some genres closer to home. Similar to much of our Western pop of the past, the recent resurgence of Japan’s beloved ‘city pop’ genre from the 1980’s, namely made popular by Tatsuro Yamashita and Mariya Takeuchi, has transcended seamlessly through time. CHAI’s new pair of tracks, ‘Donuts Mind if I Do’ undoubtedly draws upon the slower-paced, dreamier slathering of a synth-laced pop concoction, whilst their cover of Takeuchi’s 1984 track ‘Plastic Love’ stays true to its cherished roots, even 36 years on.

Coupled with their infectious positivity, CHAI’s ultimate determination “to make timeless and genre-less music” is situated at the fulcrum of their work. And this obscure year has proven no exception. According to Yuna, the group “eventually became friends with HINDS…[and] might’ve spoken the Gorillaz collaboration into existence”, which “is literally a dream come true” concludes Kana. These collaborations alone would prove impressive for any experimental act based on the other side of the world, yet their signing to Sub Pop Records, too, suggests CHAI’s 2020 is a sign of things to come.


Through this interview, I count 5 times in which the group exclaims to me to “stay tuned”. For many other acts, these calls may come off as a bit redundant or unnerving, yet for CHAI, I’ve stayed tuned for the past few years since their debut LP, Pink, and have no intention whatsoever of rescinding this one bit. Along with their assertion to “be positive” in the current climate, CHAI conclude our uplifting email exchange with some suggestions (aside from donuts) on which foods to depend on: Yuna chooses “dumplings”, Yuuki recites “shellfish from Brighton”, whilst Kana and Mana state, “eat what [you] want to eat at that moment - the good life right?”. And it’s certainly a much better life with CHAI involved.


Pre-order CHAI's 7” release of ‘Donuts Mind If I Do’ / ‘Plastic Love’ here - out Friday 6th November.

This interview was written for Gigwise, whose work can be found here.

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