Japanese Sake : All Japan News,Inc

- The Popular Tavern Culture I Encountered in a Seaside Town—Cheap, Delicious, and Free from Having to Worry About Anyone Else-　

 

By Ryuji Takahashi

On a personal note, I recently moved from the shadow of Shinjuku’s skyscraper district to the Keihin area. Although both are part of Tokyo, the atmosphere feels remarkably different. Around Shinjuku, people always seem to be moving at a brisk pace, as if the city itself never stops rushing forward. In the Keihin region, however, time appears to flow a little more gently. Perhaps it is the influence of the sea breeze, but there is a curious sense of calm that makes the passage of time feel slower and more relaxed. Compared with the Shinjuku area, the Keihin region also seems to have far fewer disappointing budget izakayas. Cheap and delicious establishments exist here as if they were the most natural thing in the world, and it is not unusual to find them already full by five o’clock in the evening. The drinking culture feels different as well. In Shinjuku, many bars and izakayas seem to attract people looking for company or conversation. In the Keihin area, by contrast, there appear to be more places where one can sit quietly and enjoy a drink alone without saying a word. Among these establishments—cheap, delicious, and requiring little in the way of social effort—there is one particular place in the Keihin region that I find myself returning to again and again. 
When you visit on a weekday afternoon, you will find seasoned solo drinkers lined up along the counter, seated one seat apart from one another, quietly enjoying their drinks and snacks in complete silence.  Inside the tavern, the only sounds that regularly break the calm are the electronic chimes signaling that an order has been placed. The Chinese staff members serve food and drinks with a matter-of-fact efficiency and little small talk, and somehow that understated, no-frills style contributes greatly to the comfort of the place. What is truly remarkable, however, is the pricing. A glass of shochu highball or green tea highball costs just 100 yen, while a mega-sized mug is only 150 yen. The food menu is equally astonishing: nearly one hundred different dishes are available, with most priced between 300 and 500 yen. It is the kind of place that feels almost impossible to imagine in central Tokyo today—a tavern where abundance, affordability, and quiet solitude coexist with effortless ease. However, even this price-breaking izakaya has not been immune to the rising tide of raw material costs. When I first visited the place about ten years ago, a plate of tuna sashimi was only 190 yen. Sake was equally cheap at 190 yen per “go” (a traditional unit of measure). Today, however, the situation has changed. The tuna sashimi now costs 350 yen, and a “go” of sake has risen to 300 yen. Even in a place built on the idea of extreme affordability, the quiet pressure of inflation has inevitably made its mark. Even so, the place remains extremely cheap, so there is really no cause for complaint. However, on a recent visit, I ordered my usual mega mug of chūhai for 150 yen, only to notice something different. The lemon slice that usually floats coolly in the glass had been reduced—cut in half. I have to admit, I prefer the full “full-moon” slice of lemon, so I felt a slight sense of disappointment. Still, that feeling was quickly replaced by admiration for the effort of the shop. Even as other menu items have gradually increased in price, they continue to hold the line on the chūhai, keeping its price unchanged. In that small gesture lies a kind of quiet determination—an attempt to preserve something essential about the place, even as the surrounding world grows more expensive. Perhaps it is because of that very spirit of perseverance that, despite being a down-to-earth, everyday izakaya, the establishment has even expanded overseas. It now operates several branches in Germany and United Kingdom, and is still in the process of steadily increasing its number of locations. It is somewhat astonishing to think that a humble neighborhood tavern culture, born from cheap drinks and unpretentious meals, has begun to take root far beyond Japan—continuing to grow, quietly but surely, across borders. Even as prices continue to rise, neither the stance of the establishment nor its regular customers seems to have changed in any significant way. It is the kind of place that, once visited, inevitably makes you want to return again. For anyone who enjoys a drink, I would strongly recommend paying a visit at least once to the popular izakaya chain Akafudaya.

 

 

 

レモンスライス半減の夜――京浜大衆酒場「赤札屋」に漂う、静かな幸福　
-海風の街で出会った、安くて旨くて誰にも気を遣わない大衆酒場文化-　

 

個人的な事であるが、新宿副都心の御膝下から、京浜地域に引っ越した。同じ東京ながら、新宿の周りは皆急ぎ足で動いているイメージだが、京浜地域は海風のせいか流れる時間が多少緩やかに感じるのが不思議である。そして新宿地域に比べて、安居酒屋のハズレが少ない地域でもある。安くて美味い店が当たり前の様にあって、夕方5時にはもう満席だったりする。飲み方も新宿は人恋しい人達が集まる店が多いのに対し、京浜地区は無言で一人呑みが出来る店が多い気がする。そんな安くて美味くてコミュニケーション能力を必要としない京浜地域にて足繁く通う店が有る。平日の昼間に行くと、一人呑みの猛者達が、カウンター席ひとつ飛ばしに横並びで鎮座し黙々と酒と肴を楽しんでいる。店内にはオーダーが通った時の電子音だけが響き、中華系の女性店員の愛想の無い淡々とした提供がとても居心地よいのだ。そしてその店の驚くことが、酎ハイ・緑茶ハイなどが1杯１００円、メガジョッキ１５０円なのである。そして、大量の食事メニューが３００円～５００円を中心に約百種類もある。しかし、そんな価格破壊の居酒屋にも原材料高騰の波が押し寄せている。私が初めて１０年くらい前にその店を訪れた際は、マグロの刺身が１皿１９０円だった。日本酒も１合１９０円と激安だったのだが、今はマグロの刺身が３５０円、日本酒も１合３００円になった。それでも激安なので、何の問題も無いのだが、先日訪れた際に、いつものように酎ハイメガジョッキ１５０円を頼んだところ、いつも涼しげな感じでジョッキの中に浮かんでいるレモンスライスがなんと半分になっていたのである。流石にレモンスライスは満月型が良いなと思っているので少しショックでもあったが、他のメニューの値上げが有っても、酎ハイの値段だけは変えずに頑張ってくれているお店の努力に感服した。そんな努力のお店だからか、大衆居酒屋なのに、ドイツやイギリスに数店舗、支店を展開していて、まだまだ店舗数を増やしている最中である。物の値段が上がっても、店のスタンスや常連客は大きく変らず、一度行けば必ずまた行きたくなる店である。酒好きなら大衆居酒屋チェーンの【赤札屋】に是非一度は行ってみてほしい。

 

 

Japanese sake generally sold is undiluted sake adjusted with water to the alcohol content of 15 ~ 16%. However, the alcohol content of squeezed sake mash itself is rather high, at approximately 20~22%, the highest alcohol content among brewed liquor worldwide (wine is between 9~14). While alcohol is generated from sugar broken down by yeast, for yeast to produce large amount of alcohol at once, high sugar content of approximately 40% in the sake mash would be required. However, if the sugar content is too high in the yeast, the production of alcohol would be inhibited due to osmotic pressure. Within high concentration of sugar, yeast cannot grow. Despite this fact, the secret behind the high alcohol-concentration in sake is in the brewing method. 
Sake mash that creates Japanese sake is prepared by adding steaming rice, rice malt, and water to the yeast starter with large quantity of cultured yeast. Therefore, sake mash contains two parallel functions: to produce sugar by gradually breaking down steaming rice into glucose using yeast from the rice malt, and alcohol fermentation by breaking down the glucose into alcohol and carbon dioxide gas using the glucose. In other words, the glucose in the sake mash is always maintained at an appropriate concentration for the yeast. For this reason, yeast can generate large quantities of alcohol without exposure to osmotic pressure. In this way, the production of alcohol in the sake mash and alcohol fermentation occurring together is known as “parallel multiple fermentation.” Also, it is known that alcohol tolerance is added to the yeast starter by a portion of the rice malt component, which generates high concentration of alcohol. On the other hand, grapes, the ingredient to produce wine, is a “saccharine food ingredient” that originally contains abundant sugar content, thus there is no need to produce sugar during the production process.   
However, in principle, smashing grapes and placing them in a container would allow the natural yeast on the grape skin to produce alcohol fermentation that produces wine. However, the alcohol concentration level will not be as high as Japanese sake. In this way, alcohol fermentation occurring independently is referred to as single fermentation. Also, in case of beer, since the ingredient is the same grain product (starch) as rice, it is necessary to convert the food ingredient into sugar during the production process. First, the saccharogenic amylase of the malt would break down into sugar, where the yeast proliferates for alcohol fermentation. In this way, the function to convert into sugar and alcohol fermentation that takes place independently is referred to as “fermentation after saccharification.” However, since beer uses a large quantity of water, alcohol-level is rather low at approximately 5%.

 

 

 

日本酒のアルコール度　　

 

一般に市販されている日本酒は、原酒を加水調整して１５～１６％のアルコール濃度に仕上げてあるが、もろみを搾っただけの原酒のアルコール分は高いもので２０～２２％前後にもなる。これは、世界中の醸造酒の中で最も高いアルコール度数である(ワインは９～１４％)。アルコールは酵母が糖分を分解することによって生成されるが、酵母が一度にこれだけ大量のアルコールを造り出すためには、もろみ中に４０％近い高濃度の糖分が必要になるという。ところが、酵母は糖分の濃度が高すぎると、その浸透圧のために生理が抑えられてしまう（濃糖圧迫）。ましてや、このような高濃度の糖分の中では、酵母すら生育できない。それにもかかわらず日本酒のアルコール度数が飛び抜けて高い秘密は、その醸造方法にある。日本酒を造るもろみは、酵母を大量培養した酒母に、蒸米と麹、水を添加したものである。したがって、もろみの中では、麹の酵素によって徐々に蒸米がブドウ糖に分解される糖化作用と、その糖分を酵母がアルコールと炭酸ガスに分解するアルコール発酵とが同時進行していることになる。つまり、もろみ中の糖分はつねに酵母にとって適度な濃度に保たれているわけだ。そのため、酵母は濃糖圧迫にさらされることなく、大量のアルコールを生成することができる。このように、もろみの中で糖化作用とアルコール発酵とが同時に行なわれることを｢並行複発酵｣と呼ぶ。さらに、麹の成分の一部が清酒酵母にアルコール耐性力を付け、高濃度のアルコールを生成することもわかっている。一方、ワインの原料であるブドウは、最初から糖分が豊富に含まれている｢糖質原料｣であるため、製造工程で糖化の必要が無い。したがって、原理的にはブドウを潰して器に入れておけば、果皮に付着している天然酵母の働きでアルコール発酵だけが行なわれて酒（ワイン）になるわけだが、アルコール濃度は日本酒ほど高くならない。このようにアルコール発酵が単独で行なわれることを｢単発酵｣という。また、ビールの場合は、原料が米と同じ穀物（でんぷん質原料）なので、製造工程で原料を糖化する必要がある。まず麦芽の糖化酵素によって糖分に分解し、そこに酵母を増殖させてアルコール発酵を行なわせる。このように、糖化作用とアルコール発酵とをそれぞれ単独に行なうことを｢単行複発酵｣という。しかもビールは水の使用量が多いから、アルコール度数は５％前後と低くなる。

 

 

By Kosuke Kuji

 

A collaboration project titled “Seijo” has launched, bringing together anime voice actresses and “Kokushu,” Japan’s traditional alcoholic beverages culture that has been registered as a UNESCO Intangible Cultural Heritage.  “Seijo” is a new project designed to share the appeal of Japan’s traditional “Kokushu” — including Sake, Honkaku Shochu, Awamori, and Hon-mirin — through the voices of anime voice actors and comedians.
As the first event of the “Seijo” project, a special collaboration event featuring anime voice actors, comedians, and Japanese sake was held at Tokyo Station.
Under the theme of “Giving Voice to Kokushu,” a wide selection of Sake and Honkaku Shochu from across Japan gathered at the venue, showcasing the diversity and richness of the country’s traditional alcoholic beverages. The featured performers included a wide range of today’s leading anime voice actors and comedians, such as Kaede Hondo, Hantaro Tenshin, Mikako Takahashi, Risae Matsuda, Hotomi Sekine, Nana Hamasaki, Haruki Ishiya, as well as the manzai duo Nihonshu. Bringing together talents from across the anime and comedy worlds, they energized the special venue at Tokyo Station with their distinctive “voices,” each adding their own color and personality to the presentation of Japan’s traditional “Kokushu.”
Guests were treated to heartfelt expressions of deep affection for “Kokushu,” along with unique personal insights and entertaining anecdotes shared by the performers.
When I closed my eyes and listened to the talk, it felt like scenes from that anime were coming back to me, and I truly felt that an anime world without visuals was appearing in my mind.
The activities will become more full-scale from here on. Events overseas are also planned, so please look forward to them.

 

 

 

酒豪大陸「アニメと声優と日本酒　その2」　　

 

アニメ声優さんと日本酒を含む、ユネスコの世界無形文化遺産に登録された「國酒」のコラボ企画「聲醸（せいじょう）」プロジェクトがスタートしました。
これは声優や芸人の声で日本酒・本格焼酎・泡盛・本みりんといった「國酒（こくしゅ）」の魅力を伝え、体験型イベントや音声コンテンツを通じて新たな酒文化を醸成するプロジェクトです。
第一弾のイベントとして、東京駅での声優さんや芸人さんと日本酒のコラボイベントが行われました。
「國酒に聲を宿す」というテーマで、日本全国から多くの日本酒、本格焼酎などが集まり、その美味しさや魅力を声優さんや芸人さんが良き「聲」でファンの皆さんに語りました。
出演した声優さんや芸人さんは本渡楓さん、天津飯大郎さん、高橋美佳子さん、松田利冴さん、関根瞳さん、浜崎奈々さん、石谷春貴さん、漫才師「にほんしゅ」さんなど、今をときめくアニメに出演している声優さんや、芸人、漫才師など多岐にわたり、東京駅の特設会場をその素晴らしい「聲」で盛り上げてくれました。
國酒に対する愛の深さや、独自の想い、そして楽しい体験談などにお客さんは当日試飲できる國酒で酔いしれました。
目をつぶって話を聞いていると、あのアニメのシーンが蘇るような感じで、本当にそこでは映像には無いアニメの世界が脳裏に浮かびました。
まだまだこれから活動を本格化させていきます。海外でのイベントも予定されていますので、楽しみにしていてください。

 

 

Knowing the type of Japanese sake helps to select sake according to your purpose. 
The diverse characteristics of Japanese sake brewed across over 1,500 sake breweries nationwide vary greatly in flavor, even within the same brand, depending on the ingredients and production method used. 
There is no definite flavor characteristic of Junmai or Ginjo for example, as some are sweet while others are dry. Also, sweet sake flavor further varies widely in richness, fruity sweet, or refreshingly sweet, etc.
Therefore, various classifications are possible depending on your chosen criteria. For example, the rice polishing ratio could be another reference point to narrow your sake type. The lower the rice polishing ratio, the more refreshing the flavor. The higher the rice polishing ratio, the stronger the flavor.
Sake can also be classified according to how you enjoy your sake. 
Some sake types are more flavorful when enjoyed chilled, while others are more flavorful enjoyed hot. 
Refreshing sake and Ginjo are delicious chilled, while rich sake like Kimoto-Junmai is delicious hot.

 

 

 

日本酒のタイプ－味や香りの組み合わせによって異なる
　
日本酒のタイプを知ることで目的に応じた酒を選べる。
日本全国1500以上の蔵で作られている日本酒の特徴は千差万別で、同じ銘柄でも原料や製造方法の違いによって味わいが全く異なることもある。
純米酒だから、吟醸酒だからこうと、断言できるものではなく、それぞれ甘口もあれば、辛口もある。また、甘口の中にもコクのある甘口、フルーティーな甘口、さっぱりとした甘口などがありバリエーションは幅広い。
どこに注目するかによって様々な分類が可能である。例えば精米歩合に注目して味を類推することができる。精米歩合が低い酒はさっぱりとした味に。精米歩合が高い酒は味が強い強くなりやすい。
飲み方によって分類することもできる。
日本酒には、冷やして、飲むのに向くものと、温めて飲むのに向くものがある。
さっぱりとした、酒や吟醸酒は冷やすと美味しく、生酛系純米酒のようなコクのある酒はお燗にすると美味しい。

 

 

By Ryuji Takahashi

 

In recent years, prices across the Japanese sake market have been steadily rising. While it is natural for discretionary items to follow the upward trend seen in essential goods, there is a crucial difference: sake is, at its core, a luxury rather than a necessity. As a result, unlike everyday staples, these price increases are more likely to trigger noticeable consumer restraint and a pullback in demand.
On top of this, the increasingly prolonged and intense summer heat is dampening consumer appetite, creating a double blow that could make this summer a challenging season for Japan’s sake industry. Interestingly, a similar pattern can be seen in other premium indulgence categories. According to coffee bean wholesalers—another representative of the world of discretionary goods—coffee prices are also rising. While iced coffee offers some relief during the hotter months, bean sales still reportedly drop significantly compared to the winter season.
In contrast, categories such as tobacco appear far less sensitive to price fluctuations. Even with steady price increases, many smokers—driven by long-standing nicotine dependence—do not readily change their habits, even when costs double compared to earlier years. Demand also tends to remain largely unaffected by seasonal shifts. Younger smokers, moreover, often have no reference point for past pricing levels, and with the emergence of alternatives such as electronic cigarettes, the sense of ‘rising cost’ may feel less pronounced than expected. Among sake enthusiasts, younger consumers are said to spend surprisingly generously on sake. However, the overall number of people who drink it on a regular, everyday basis remains relatively small. While there are always a few devoted drinkers across all age groups who stick exclusively to sake even in the height of summer, overall consumption still declines significantly during the hot season. In many cases, it is gradually displaced by other alcoholic beverages such as beer and highballs, which tend to dominate summer drinking occasions.
As long as record-breaking heatwaves continue, this situation is unlikely to change. Many producers attempt to offset the downturn by introducing refreshing seasonal sake and proposing new ways to enjoy Japanese sake, yet the results remain a world apart from winter sales figures. From summer through autumn, local breweries—having already completed their brewing season—turn their focus elsewhere, with sake events and tasting gatherings held across various regions in an effort to keep the culture alive during the off-season.
However, even these efforts are beginning to face new challenges. Outdoor events are becoming increasingly difficult to sustain under the intensifying summer heat, leading to a gradual shift toward indoor venues. This transition brings its own complications: venue costs are typically higher indoors, which in turn pushes up participation fees. As a result, attendance among sake enthusiasts may also be affected. At the same time, breweries may be required to take on a larger share of sponsorship responsibilities, potentially placing additional financial strain on their operations. In such a scenario, these events risk becoming dominated by major brands and well-established labels, leaving smaller local breweries with fewer opportunities to showcase themselves and connect directly with consumers.
With the rise of remote work in recent years, the long-standing habit of grabbing a beer after work may be gradually fading. Yet, it is also possible that the image of Japanese sake itself has not significantly evolved over the past few decades. In Japan, even wine culture reflects a certain temperature-conscious mindset—few people reach for chilled red wine, for example, with red typically served at room temperature and white well chilled. As long as these associations persist, sake may continue to struggle to position itself as a natural choice for hot summer days.

 

 

 

夏を迎える日本酒業界　

 

ここ数年、日本酒の価格が軒並み上昇している。生活必需品の価格が上がっているので
同様に嗜好品の価格が上がっていてもおかしくないのだが、生活必需品と大きく違うのは、嗜好品はあくまでも嗜好品なのでかなりの買い控えが出てくるということである。そして年々長くなる夏の猛暑による購買意欲の減退のダブルパンチで今年の夏は日本酒業界にとって苦しいものとなるのではないだろうか。因みに嗜好品の代表仲間である珈琲豆屋に聞くと、やはり珈琲豆の価格は高騰しており、プラス夏場はアイスコーヒーというアイテムが有るが、冬に比べるとやはり豆の売り上げは大きく落ちるらしい。それに比べ、タバコなどは多少の値上がりは何のその。ニコチン中毒者は昔に比べて倍の価格くらいでは辞めない人が多いし、季節も関係ない。若い喫煙者は昔の価格を知らないし以前は無かった電子タバコなども有るので、特に高くなったとは思わないのかもしれない。それで言うと日本酒愛好家も若い人は意外と日本酒にお金をかけるらしいが、如何せん日常日本酒を飲む絶対数が少ない。全年齢層で真夏でも日本酒だけの人は多少いるが、やはり夏場の消費量は大きく減り、同じアルコール飲料のビールやハイボールに取って代わられてしまう。記録的な猛暑が続くかぎり、この状況は変わらないだろう。各社、涼しげな季節酒や新たな日本酒の飲み方の提案で乗り切ろうとするが、結果冬の売り上げに比べたら雲泥の差である。夏から秋にかけては、地酒酒蔵は造りが終わっているので、色々な場所で日本酒イベントも行われる。しかしそれも、屋外イベントは猛暑で段々と不可能になってきていて、屋内イベントが増えてくる。そうすると、屋外イベントに比べ、場所の利用代も高くなり、イベント参加費が上昇する為、日本酒愛好家の集客にも影響が出てくるだろう。もしかしたら酒蔵の協賛部分も大きくなり、酒蔵の経営に負担が出てくるかもしれない。そうすると、人気銘柄や大手メーカーだけが参加するイベントになり、小さい地酒酒蔵としてはPＲの場所を失っていくかもしれない。在宅ワークが増えた昨今、仕事帰りにビールという習慣は多少薄れつつあるはずだが、もしかしたら日本酒のイメージがこの数十年大きくは変っていないのかもしれない。確かに、冷えた赤ワインを飲む人も少ないのが日本人。赤ワインは常温、白ワインは冷えた状態などと言っているうちは暑い日に日本酒とはならないのかもしれない。

 

 

Yeast is a general term that refers to single-celled microorganisms (fungi) that propagates due to germination or cell division. Yeast has the effect of breaking sugar down to alcohol and carbon dioxide (gas). Approximately 5 ~ 10 microns (1 micron = 1/1,000 of 1 millimeter) in size, yeast comes in various shapes – egg-shaped, sphere-shaped, sausage-shaped, etc. Similar to mold, yeast is naturally distributed throughout the natural world (called wild yeast).       
Sake does not use food ingredients with distinct characteristics (like grapes pressed to produce wine), nor does it use secondary food ingredients to add aroma (like hop used to add aroma to beer). Since the sake characteristic is greatly influenced by the yeast properties, it is important to select the proper yeast that suits your purpose. Yeast creates the distinct Ginjo aroma as well.   
While there are various types of yeast, the type described here is the typical fermentable yeast, saccharomyces, of which the saccharomyces cerevisiae is the most representative yeast for brewing with strong alcohol fermentation capabilities, often used as baker’s yeast (yeast to make bread), beer (beer brewer’s yeast), wine (wine producer’s yeast), and other general uses to brew alcohol. Saccharomyces sake – referred to as sake yeast - belongs to the saccharomyces cerevisiae species and is used to brew Japanese sake. Sake yeast can produce highly concentrated alcohol up to 20 percent, characteristic for its strong fermentation capabilities under low-temperatures.   
Also, yeast used to ferment alcohol consists of two types: top fermentation yeast and bottom fermentation yeast. For example, the main yeast used to brew beer worldwide - such as in Japan and Germany - is the bottom fermentation yeast, which ferments under the fermentation mash; while yeast used to brew English ale or stout, etc., is top fermentation yeast, which ferments on top of the fermentation mash and bubbles while fermenting. Brewer’s yeast is classified as top fermentation yeast, the same type of yeast as ale and stout.  
Generally, quality sake yeast is highly aromatic and characteristic for its strong fermentation capability, while low in the ability to generate acid. Currently, the widely used quality yeast is the “Association Yeast,” distributed by the Brewing Society of Japan. However, each prefecture is actively developing its own yeast. Long-established sake brewers have their unique yeast attached to their buildings, bed soil, etc., and this yeast is called home-grown yeast.” Traditional sake brewing procedures cultivated this home-grown yeast to produce sake yeast. However, in recent years, small to medium-sized regional breweries are starting to see a revived application of this “home-grown yeast.”

 

 

 

酵母とは何か　

 

酵母というのは出芽または分裂によって増殖する単細胞の微生物（菌類）の総称で、糖分をアルコールと炭酸ガス（二酸化炭素）に分解する作用を持つ。イーストともいう。大きさは5～10ミクロン（1ミクロンは1000分の1ミリ）ほどで、卵形、球形、ソーセージ型など多様な形をしている。カビと同様 に、自然界に広く分布する（野生酵母と呼ぶ）。 
日本酒はワインのブドウのように個性のある原料を使うわけではなく、 ビールのホップのような香味を付け加える副材料も用いない。日本酒の特色は酵母の性質に大きく影響されるため、目的に合った酵母を選ばなければならない。吟醸酒に特有の芳香をつくるのも酵母である。
酵母にはいろいろな種類があるが、典型的な発酵性酵母はサッカロミセス属の酵母である。なかでも、サッカロミセス・セレビシエに属する酵母は、最も代表的な醸造用酵母でアルコール発酵力が強く、パンの発酵（パン酵母）のほか、ビール（ビール酵母）、ワイン（ブドウ酒酵母）など酒類全般の醸造に使われている。日本酒の醸造に用いるのは、分類上はサッカロミセス・セレビシエに属するサッカロミセス・サケで、清酒酵母とも呼ばれる。清酒酵母は、20％もの高濃度までアルコールを生成でき、低温下での発酵にも大変強いのが特徴である。 
また、酒類の発酵に使用する酵母には、上面発酵酵母と下面発酵酵母とがある。たとえば、日本やドイツをはじめとする世界中の主なビールの酵母は、もろみの下部で発酵する下面発酵酵母だが、英国のエールやスタウトビールなどに用いる酵母は、もろみの上部で発酵し、発酵中に高泡が盛り上がる上面発酵酵母である。清酒酵母は、エールやスタウトビールの酵母と同じ上面発酵酵母に分類される。
 一般に、優良な清酒酵母には、発酵力は強いが酸をつくる能力は低く、 香りが高いなどの特徴がある。現在、優良酵母として広く使用されているのは、日本醸造協会から頒布されている「きょうかい酵母」だが、県単位での独自の酵母の開発も盛んになっている。ところで、永年醸造を続けてきた酒蔵には、固有の酵母が建物や床土などに付着して住みついており、この酵母を「家つき酵母」と呼ぶ。かつての伝統的な酒造りでは、この家つき酵母を培養して酒母を造っていたが、近年、地方の中小蔵などで、この「家つき酵母」の復活、応用化の動きが目立ってきている。

 

 

By Kosuke Kuji

 

A pillar of Japan’s cultural heritage, sake earned a place on UNESCO’s Intangible Cultural Heritage list in 2024.
And then there’s Japanese anime—another pillar of the nation’s subculture, captivating audiences across the globe. From Demon Slayer: Kimetsu no Yaiba to One Piece and Dragon Ball, these iconic titles continue to command massive international followings.
Bringing these animated worlds to life are the voice actors—the seiyuu—whose performances shape the very soul of each story. The depth, emotion, and atmosphere of anime owe an immense debt to their craft, and in many ways, they stand among Japan’s most defining actors on the global stage.
Yet behind its dazzling global success, the world of anime is anything but easy. The content itself is celebrated worldwide for its immense creative power and cultural value—and the revenue it generates is nothing short of enormous. The content itself commands immense value and generates significant revenue worldwide, a testament to its powerful appeal. And still, when measured against that strength, the recognition and compensation afforded to voice actors often fall short. It’s long felt as though seiyuu deserve far greater acknowledgment for the vital role they play. I’ve loved anime for as long as I can remember. For years, I dreamed of collaborating with it—but the industry felt so vast, so formidable, that I eventually set the idea aside.　Then I noticed something unexpected: many of the very voices that bring anime to life—the seiyuu themselves—share a deep appreciation for Japanese sake. That realization opened a new path. By partnering with these voice actors, I began launching a range of collaborative projects that bridge the worlds of anime and sake in a fresh, meaningful way.
By bringing voice actors’ talents beyond the realm of anime and into dialogue with Japan’s traditional culture of sake, I set out to express their artistry in new ways—and to expand how their value is perceived.
With this initiative now underway, I’ll be sharing more in the coming installments about these collaborations and the stories behind them.

 

 

 

酒豪大陸「アニメと声優と日本酒　その1」

 

日本の伝統文化である日本酒。2024年にはユネスコの世界無形文化遺産にも登録されました。
そして、同じく日本のサブカルチャーとして世界を席巻する「日本アニメ」。
鬼滅の刃、ワンピース、ドラゴンボール、どれも世界で大人気の作品です。
そのアニメに命を吹き込んでいるのが「声優」さんです。
アニメの世界観はこの声優さんの力によるところが非常に大きく、日本を代表するアクターだと私は考えています。
しかし、アニメの世界はなかなか厳しい世界で、アニメ自体のコンテンツの力と価値は世界中から高く評価され、アニメに対する収入も莫大だと思います。
その強力なコンテンツ力に対して声優さんの価値はまだまだ低く、もっと声優さんは評価されても良いと思っていました。
私は昔からアニメが大好きでしたが、アニメコンテンツとコラボレーションするのはアニメの世界があまりにも巨大コンテンツ過ぎて難しく、あきらめていましたが、アニメに命を吹き込んでいる、そのアニメを代表する声優さん達に日本酒好きが非常に多い事もあって、声優さんとコラボして活動を様々開始しました。
声優さんの価値をアニメだけではなく、日本の伝統文化である日本酒と一緒になることで、さらに違う形で表現したり、価値を広げたりする活動をスタートしましたので、次回以降はそういった活動のお話しをしていきたいと思います。

 

 

As the term indicates, amino acid is the amino acid content - umami component generated from rice protein broken down. Therefore, the higher the amino acid content, the richer the sake flavor. However, sake too high in amino acid can generate acidity.     
The back label on a sake bottle can indicate the Sake Meter Value, acidity, and amino acid content; one reference to determine the sake flavor. However, sake flavor cannot be described simply as sweet if the sake meter value is negative, or dry if the sake meter value is positive.
Sake flavor consists not only of sugar, but also acidity, amino acid content, aroma, palate, and various factors intertwined.  
Since each person perceives flavor differently, I recommend referencing the various values while sampling sake to find your own preferred brand of sake.

 

 

 

日本酒の味を示す基準

 

アミノ酸とは、その名の通りアミノ酸の量を示す。アミノ酸は米のタンパク質の分解に伴って生じるものでうまみ成分になる。したがってアミノ酸が多いほどコクのある酒になるが、多すぎると酸味が出ることもある。
日本酒度、酸度、アミノ酸は裏ラベルに記載がある場合があり、味を知る手がかりになるとは言え、日本酒の味わいは日本酒度がマイナスなら甘口、プラスなら辛口と言うような単純なものではない。
糖だけでなく酸やアミノ酸の量、香り、口あたりなど、様々な要素が絡み合いって、味を構成している。
味の捉え方は各自によっても異なるので各種の数値を参考にしつつ、実際に飲んで好みの酒を探すのが良いだろう。

 

 

By Ryuji Takahashi

 

Recently, I was invited by a group of small and medium-sized business owners to lead a sake seminar, and I hosted an engaging two-hour session. While I receive requests for sake seminars from various organizations throughout the year, trends in sake—and alcoholic beverages more broadly—are constantly evolving. As a hands-on instructor who stays connected to the field, I make it a point to continually refine and update the content, ensuring each seminar reflects the latest insights and industry developments.
Most of what I talk about in my seminars focuses on the real, on-the-ground state of the sake industry and practical tips for buying sake without making mistakes. Unlike instructors who hold certifications but lack firsthand experience, I bring insights that only someone actively working in the field can share. I also make it a point to deliver these lessons in an engaging and often humorous way. One topic I often highlight is that, compared to younger generations, middle-aged consumers have become less willing to spend money on sake—a trend that always sparks lively discussion.
In fact, according to the latest household survey by Ministry of Internal Affairs and Communication, the annual average spending on sake has actually increased among people in their 20s and 30s, while it has declined among those in their 40s and 50s. This suggests it’s not that younger people aren’t drinking alcohol—it’s that middle-aged consumers are buying less sake. And when you consider the age groups that still maintain regular drinking habits, there are actually more drinkers in their 40s and 50s. The real concern, then, is the middle-aged shift away from sake. While some older men often claim that “young people don’t drink anymore,” the reality is quite the opposite: it’s the middle-aged men who should be spending more on sake—this is the true, on-the-ground picture of the market.
Teaching sake to young people might feel a little awkward—after all, many of them may already be more knowledgeable about the latest trends in sake than we are. However, when you look at shipment data by type of sake, there’s only a modest increase in sales of namazake (unpasteurized sake) compared to the previous year, suggesting that young people aren’t yet keeping sake regularly stocked at home. From this observation, the conversation naturally shifts to an important point: when people aren’t spending, it often means they don’t want to risk buying sake they might not enjoy. This leads perfectly into discussions on how to purchase sake wisely—how to avoid mistakes and choose bottles that truly match your taste—making the seminar both practical and engaging.
The seminar weaves in colorful stories—from a stubborn owner of a second-hand record shop to the passionate proprietor of a specialty coffee bean store—bringing life and relatability to the lessons. We also cover practical tips: what to pick up at the supermarket, which pack sake is worth trying, and other easily accessible options for enjoying Japanese sake. After the main session, there’s always a Q&A segment where attendees can ask anything, and this time was no exception. The two-hour seminar was so lively that it extended to two and a half hours. While the organizers were a bit anxious about the venue schedule, I was grateful to receive requests to repeat the seminar in the future—an opportunity I’d be more than happy to accept.
Interest in sake isn’t limited by age—both young people and older generations share a curiosity and appreciation for it. While terms like “alcohol harassment” are part of today’s conversation, perhaps it wouldn’t hurt if, every now and then, we returned to the old days a bit: sharing a drink between a boss and their team, and yes, even listening to the occasional sake trivia from a passionate older gentleman. Sometimes, a little of that tradition can be a good thing.

 

 

 

日本酒セミナー

 

先日、中小企業の経営者の人達から日本酒セミナーの依頼が有ったので、2時間のセミナーを開催した。毎年、何度か色々な所から日本酒セミナーの依頼が有るが、日本酒だけでなくアルコール飲料の動向は毎年変わっていくので、現場を知る講師として、内容のブラッシュアップを常に意識している。私の喋る内容は、ほとんどが日本酒業界のリアルな状況と失敗しない日本酒の買い方である。これは資格だけ持っている講師とは違い、現場にいる私にしか出来ない講義内容だと思っている。そしてそれを面白可笑しく説明するようにいつも心がけている。その中の一つで、若者よりも中年が日本酒にお金を使わなくなったという話がある。実際、総務省の家計調査にて直近1年で２０代３０代の日本酒の年間平均購買金額はアップしており、４０代５０代は下がっている。これは若者が酒を飲まないのでは無く、中年が日本酒を買わなくなっていると言って良いだろう。しかも飲酒習慣がある年代で言えば４０代５０代の方が多いので、深刻なのは中年の日本酒離れである。若者は酒を飲まないとよく言うオジサン達がいるが、いやいやオジサン達こそ日本酒にお金をもっと使ってくれが本当のリアルだったりする。もしかしたら若者に日本酒を教えるなんぞ恥ずかしい話で、よっぽど若者の方が最近の日本酒に詳しい可能性がある。しかし、造り別出荷数量を見ると生酒が前年比で多少上昇しているデータから若者も家に日本酒を常備するとまではいかない様だ。などという話を絡めながら、お金を使わないということは、出来るだけ好みでない日本酒を買いたくはないとなるので、では失敗せずに日本酒を買うにはどうしたら良いかなどと話が進んでいく。そこには、中古レコード屋の頑固店主の話も出てくるし、こだわりの珈琲豆屋の店主も話に出てくる。スーパーでは何を買えば良いか、パック酒を買うなら何が良いかなど、気軽に手に入る日本酒の話もする。その後は何でも質問してくださいと質問コーナーを設ける。今回も２時間のセミナーが盛り上がり、２時間半まで延長となり、場所の確保の問題で主催側が少し焦っていたが、是非またリピートをお願いしたいと有難いことに依頼を受けた。日本酒に興味があるのは、若い人も年配の人も同じで有る。最近はアルコールハラスメントなどの言葉もあるが、また昔みたいに上司と部下が酒を酌み交わし、面倒な日本酒うんちくを話すオジサンが出てきても、たまには良いのではないだろうか。

 

 

Ginjo, a sake different in quality from our nation’s traditional sake, emerged around the end of the Taisho Era. Within a short time since, sake breweries nationwide started producing Ginjo. However, in the background were two major factors: first, the improved rice polishing machine.
Since their use started in Nada since the late Edo Era, hydraulic power was used for water wheel-driven rice polishing. However, by the end of the Taisho Era, the switch was made to horizontal-type rice polishing machine, driving the Ginjo sake production that requires high degree of rice grain polishing.
However, compared to the water wheel-driven rice polishing, the horizontal-type rice-polishing machine drastically improved efficiency in rice-polishing. Polishing rice to the rice-polishing ratio above 80 percent was very difficult due to the method of rubbing rice together. However, since
entering into the Showa Era, the new vertical-type rice-polishing machine emerged, innovating the sake production technology to a new level. The vertical type rice-polishing machine was an epoch-making device that rotated the grindstone called the “diamond roll” to grind the rice in order from the surface portion.
Another factor was the “National Sake Competition” (The Brewing Society of Japan) held every other year from October 1907, and the “Annual Japan Sake Awards” held annually to this day since 1911. Sake breweries nationwide were excited to win a prize in the Sake Fair and the sake Competition. The Brewing Masters fully utilize the latest technologies of their respective era, competing by selecting the variety of the raw material rice, enhancing the degree of rice polishing, and exercising ingenuity in the sake production method. Ginjo sake emerged during the process to produce sake for submission to the Sake Fair.
The higher the rice-polishing ratio for raw material rice, the higher the quality of sake as known since the late Edo Era. Unfortunately until the Taisho Era, there was no sufficient technology to achieve a high degree of rice-polishing. The Brewing Masters’ long-term dream was achieved with the Vertical-type rice-polishing device, rapidly adopted in the early Showa Era. The highly polished raw material rice generates an elegant flavor, evaluated highly during the Sake Fair.
For this reason, the sake submissions naturally gravitated towards Ginjo sake. According to the Annual Japan Sake Awards report before/after 1935, sake produced with rice-polishing ratio above 50 percent constituted over half of all sake submissions that ranked into the top 100 selections. However, in contrast to the current Ginjo sake boom, the Ginjo sake production at the
time aimed to garner awards at the Sake Fair, and since the sake was different in both flavor and aroma up to that point, these sake were rarely distributed among the market.

 

 

 

吟醸酒の誕生

 

わが国の伝統的な酒とは異質の酒である吟醸酒が登場したのは、大正の末頃のことである。それから短期間のうちに全国の酒蔵でこぞって造られるようになったが、その背景には二つの大きな要因があった。一つは、原料米を搗く精米機の改良である。江戸時代後期に灘で始められて以来、造り酒屋での精米は河川の水カを利用する水車精米に頼っていたが、大正の末頃には電力による横型精米機に切り換えられていた。これが、原料米の高い精白度が要求される吟醸酒造りのきっかけになったのである。ただ、横型精米機は水車精米に比べれば精米の効率を格段に高めたが、米と米とを擦り合わせる方式だったため、精米歩合80％以上に精白するのは至難の業だったという。しかし、昭和に入って間もなく新型の竪型精米機が登場し、酒造りの技術革新は新たな段階に進むことになる。竪型精米機とは、金剛ロールと呼ばれる研削砥石が回転しながら米の表層部分から順次削り取っていく仕組みの精米機で、精米方法の原理的転換を実現した画期的精米機だった。
　もうーつの要因は、明治40年10月から隔年で開催された「全国清酒品評会」（醸造協会主催）と、明治44 年から現在まで毎年開催されている「全国新酒鑑評会」である。これらの品評会や鑑評会で入賞するために全国の酒蔵は躍起になった。
杜氏は原料米の品種を選んで米の精白度を高め、酒造法に工夫を凝らすなど、その時代時代の技術を駆使して競い合った。吟醸酒は、この品評会用の酒造りから生まれた酒である。原料米の精米歩合を高めれば高めるほど良質の酒が造れるということは、江戸時代後期からすでに知られていたが、残念ながら大正までは、高度精米のための十分な技術がなかった。その杜氏の長年の夢を実現したのが、昭和の初期に急速に導入された竪型精米機だったわけである。原料米を極度に磨いた酒は淡麗な風味となり、当然、品評会での評価も高い。そのため、出品される酒は自然と吟醸酒に集中していくことになった。昭和10 年前後の新酒鑑評会調査報告によると、精米歩合が50％以上の酒が上位100点のうちの半数以上にものぽっているという。ただ、現在の吟醸酒ブームと違って、当時の吟醸酒造りはあくまで品評会で賞を取るための酒造りであり、また、味も香りもそれまでの日本酒とはまったく異なった酒だったため、市場に出回ることはほとんどなかった。