From the Pulse of Tokyo to World Standard Soundsystem Music

In a city with such a dynamic and anti-static rhythm, where rows of neon lights glow throughout the night and train lines stretch across districts carrying passengers from one neighborhood to another, Tokyo possesses its own musical heartbeat. Behind the hustle and bustle of this metropolis lie small spaces alive with the vibration of bass, underground clubs spinning vinyl records all night long, and sound system communities that nurture reggae tradition with an almost ritualistic patience. It is from this ecosystem that Bim One Production emerged as one of the important units bringing significant resonance to the global reggae landscape from this city.

Bim One Production is a Tokyo-based electronic reggae riddim production unit formed in 2014 with a simple yet powerful idea. They wanted to take reggae riddims to the next level. Behind the project stand two producers and DJs who have long been immersed in Japan’s sound system culture: e-mura and 1TA.

e-mura is known as the trackmaker for the Tokyo raggamuffin group Rub-A-Dub Market, while both were also part of the prominent sound system crew PART2STYLE, where they produced riddims and tracks that built their reputation in the local scene. From the very beginning, their artistic concept was clear: “world standard soundsystem music.” This attitude stems from deep respect for the roots of Jamaican reggae, infused with fresh elements from Tokyo.

The journey to that point did not begin in modern studios or international festivals. Everything was experienced through far more personal means — the first encounters with music that gradually became part of everyday life.

For e-mura, his relationship with reggae began during his teenage years. At that time, Japan already had a vibrant reggae community with clubs playing roots, dub, and dancehall late into the night. When he started working at a reggae club, that connection drew him deeper into the scene. It was there that he launched his own sound system or selector project called Jam Master, which remains active to this day.

Working in a reggae club demands more than simply “playing songs.” In sound system tradition, the selector is a curator of atmosphere. He must master the timing of when to drop a riddim and how bass can move the energy of the space — transforming reggae into a living environment that fills daily life.

1TA’s path was different but converged on the same frequency. From childhood, he was always drawn to the B-side of vinyl records — the side that often contained dub or instrumental versions of the main track. In reggae tradition, the B-side is an experimental space where music structure can be transformed through echo, delay, and other sonic manipulations that bring new sounds to life.

This interest led him to work at a specialist reggae vinyl store in Tokyo in his twenties. Although the store closed in 2009, the experience gave him invaluable knowledge and kept him immersed in the flowing history of reggae through the vinyl records that came and went.

During that period, he crossed paths with e-mura. Although not part of “Jam Master,” 1TA was one of the key figures who helped organize parties together — parties that gave birth to musical ideas and allowed the collective to grow and develop.

When asked if there was one defining moment that led to the formation of Bim One Production, 1TA simply said no. In his view, there was no dramatic turning point that suddenly changed their lives. They arrived at this stage naturally, over time.

By the time Bim One Production was officially born in 2014, the reggae world had already entered a different phase. Digital technology has accelerated music distribution and opened new lines of communication between communities across countries. For e-mura and 1TA, however, the idea of taking reggae riddims to the next level did not mean abandoning tradition. Instead, they saw the potential to make that tradition even broader.

Bim One Production draws from Jamaican roots reggae and its development in the UK, but they add a distinct Tokyo flavor. As a sound production unit from Japan’s reggae scene, they aim to introduce their reggae creations to the world with the conviction that this is authentic reggae — worthy of universal enjoyment.

For 1TA, this vision is also tied to the geographical identity of their music. From their base in Tokyo, he wants music lovers around the world to feel and enjoy the unique nuance often referred to as Tokyo reggae.

Roots of Jamaica, Soul of Tokyo

Reggae has deep spiritual and historical roots in Jamaica. This has even made Japan one of the largest reggae communities outside the Caribbean islands. Bim One Production has played a significant role in this scene. e-mura explains that their involvement comes through personal interpretation. As someone living in Japan, he interprets the religious messages and lifestyle embedded in reggae in his own way, then translates them into the music he produces.

Meanwhile, for 1TA, the values he learned from reggae culture feel truly universal. Concepts such as “I and I,” “Respect and Manner,” and “Ruff and Tuff” have become lifelong lessons he continues to remember. These values are not exclusive to Japan; they are principles that apply to all humanity.

Bim One Production has never stopped there. Their work has fostered interactions with various musicians and crews from different countries. One particularly memorable encounter for e-mura was with the Scottish sound system Mungo’s Hi Fi. Although they come from Scotland, they show profound respect for reggae tradition while building their own unique production style — an approach that closely aligns with Bim One Production’s philosophy.

For 1TA, the most moving experience was during his time living in London, where he played many gigs. He felt the audience’s enthusiasm for the selections he played. 1TA recalls:

“When I played reggae — or even Japanese songs — and saw the crowd respond enthusiastically, it was very moving.”

This includes the time he founded the label Riddim Chango Records and collaborated with Macka B on the track “Don’t Stop The Sound.” The song reached reggae fans beyond Japan and became an international hit. For 1TA, that moment marked an important milestone in his journey.

In the production studio, Bim One Production’s approach always starts from the world of sound systems. Yet e-mura emphasizes:

“We maintain reggae as our method of expression, while also being influenced by many different kinds of music from around the world.”

One source of inspiration comes from the Japanese sound system eastaudio. This system is capable of playing various genres, including techno and bass music, but at its deepest core, it still carries the spirit of reggae.

They also draw significant stimulation from the people around them who create great music with different approaches — including friends and neighbors from the newdubhall and Undefined projects, as well as their label partner Element.

Bass Therapy and Global Recognition

In the end, all the music they create is always considered in the context of how it will sound on a sound system. For them, a sound system is not merely a music player, but an acoustic space where sound quality is tested to its fullest potential.

For e-mura, sound system sessions have an emotional dimension that is almost difficult to describe. He portrays it as an extraordinary experience that feels like sound wave therapy.

For 1TA, the power of a sound system lies in its completely independent nature, fully controlled by the crew that builds it. Unlike PA systems at clubs or festivals, which often have limitations, sound systems are designed, set up, and operated autonomously. Because of this independence, the resulting sound often carries a stronger soul or spirit. In a session, the audience resonates with that energy.

Over time, several moments made them realize that their music had truly connected with the global reggae community. One was when Don Letts and David Rodigan frequently played their tracks on BBC radio.

Another came from the sound system world when dub legend Jah Shaka played their music. They also felt the impact when record distributors in various countries placed repeat orders for their releases.

The most tangible experience happened when they performed at the Subcamp Festival in Thailand. When tracks like “Don’t Stop The Sound” and “Hard Times VIP” were played, many audience members already knew them. Seeing the crowd’s enthusiasm for those songs was truly surprising for them.

Positive Energy from Sound System

e-mura and 1TA truly absorb energy from the wise messages within reggae. They are adaptable yet grounded. When asked about the social contributions their music has made, the two tend to avoid the spotlight.

“I don’t think we can have a huge impact on society. But if our music can move people’s emotions even a little, that would be enough.”

That was e-mura’s response. Meanwhile, 1TA absorbs the deeper values behind sound system culture. He emphasizes:

“The lessons we’ve learned from reggae and dub’s DIY sound system culture — which has deeply influenced us — include teaming up and creating positive energy within a community. That’s something that can be applied not only in music but in many different situations in life.”

(Interview:Keyko, Editor&Translation: Sam)