- Could you share the thoughts and ideas behind this mix?
I often stop by ELLA RECORDS in the early afternoon, and one of the things I really love is the sunlight streaming in through the windows at that time—it creates such a pleasant, beautiful atmosphere. I’m also fond of the dappled light along Nishihara Greenway, as well as the overall tempo of Hatagaya as a neighborhood and the character of the shops lined up there.
With that in mind, I approached this one-hour DJ set as a way of accompanying the comfortable mood I feel whenever I visit ELLA RECORDS—staying close to that sense of joy and happiness that I personally imagine and want to express.
- Can you tell us about your usual approach to creating mixes?
Within me, there’s always been a strong utopian theme—an urge to escape through the sensation of sea and nature, as if inviting someone to “an island we’ve never been to.” That feeling runs through this mix as well. I tend to weave that same kind of tension into the place, concept, time, and genre—blending them with that sense of imagined departure and openness.
When I DJ, I’m deeply conscious of painting a single scene in the moment—expressing a mood, a color, a landscape through improvisation. Unless the setting specifically requires it, I don’t really confine myself to a particular genre. Instead, I select tracks in relation to the overall picture of who I am, choosing music that aligns with the scenery and concept I want to evoke at that particular time.
- About how many records did you bring with you for this set?
About 20 LPs and around 30 seven-inch records.
- It was truly a genre-less set — what countries did the music you played come from?
I mainly focused on records from the U.S. and Brazilian music, while also weaving in some Asian music here and there.
- Your set was full of exciting cut-ins throughout—roughly what percentage of it was planned or prepared in advance?
I’m not really the type to pre-plan the full flow of a DJ set, and this time as well, I only relied a little on my usual go-to sequences or transitions. I get to play in all kinds of different situations, and there are quite a few moments—sometimes even surprisingly so—when I discover something on the spot or come up with an idea in the middle of playing. At times, those spontaneous choices can make up as much as half of the entire set.
One of my signature transitions that I used this time was a quick Beatles connection: moving from the Sanchez version of “Hey Jude” straight into DJ Nu-Mark’s version of “Imagine.”
Another is starting with just the intro of the soul classic “Jolie” (the Latimore version), then immediately cutting into Arthur Verocai’s Brazilian track “Bis.” I do both of these fairly often, but this time, carried by the flow, I ended up extending it into a sequence of four tracks in a row.
- Were there any key tracks in today’s set, or any records you absolutely wanted to play?
Wherever I go, I often find myself imagining things like, “What if that song were playing right here, right now?” Since I visit ELLA RECORDS fairly often, I already had a clear image in mind. From quite early on, I knew I wanted to place Nina Simone’s “I Put A Spell On You” at the center of this mix. It’s a jazz ballad—not what you’d typically call dance music—but positioning it at the heart of this particular story was one of the key ideas for me.
Another important moment was “Preachin’” by Wally Badarou, which I played just before the final track. It’s a song I truly love. Whenever a party feels just right—when the scenery, the atmosphere, the situation all come together—I almost always feel like ending with that track.
To be honest, when I play it and look at the people there, I sometimes feel so moved it almost brings me to tears.
It’s the best.
- What do you think is the appeal of DJing with vinyl?
I find something appealing in every format in its own way, but with vinyl, I’m especially drawn to how imagination, sensitivity, and emotion are transmitted directly into my hands—and from there, through the way I physically touch and handle the record, straight into the sound itself. There’s something deeply human about that process.
I have great respect for the music created by the artist, and I’m always thinking about how I can further elevate it or shift its expression. With vinyl, in particular, I feel there are countless subtle possibilities in how that can be done.
- When you DJ with vinyl, are there any particular points you’re especially particular about? (e.g.: using original pressings whenever possible, being selective about needles or headphones, and so on.)
I wouldn’t say I have any particular rules or rigid commitments when it comes to DJing with vinyl.
As for equipment, once I find something I really like, I don’t switch it out very often—I tend to keep using the same model and simply replace it when necessary. I also feel that it takes time to truly grow into a piece of gear, to understand its characteristics and really lock in with it.
- You started DJing in the 5th grade of elementary school, and this year marks 30 years since you began—an exceptionally rare career path. Looking back on your three decades as a DJ, are there aspects of starting so young that you feel were truly beneficial? On the other hand, are there perspectives or insights that only became clear after gaining experience over the years, or with age?
I first touched turntables in 1997, and not long after that, I started DJing in front of people when I was in fifth grade. It was an incredible era—so many timeless, legendary things were still alive and being passed down. Being able to *start* in that environment, even though the bar felt high, is something I’m truly grateful for now.
Lately, as I’ve gotten older, I sometimes think about making a small booklet as a kind of personal record of memories. There have honestly been so many unforgettable, funny, and amazing moments. (Someone please be my conversation partner about it, haha.)
At this point, I genuinely can’t imagine a version of myself without music and DJing in my life. It’s not something I take for granted—it’s just that I loved it, and before I knew it, so much time had passed. When I first started, depending on the person, I don’t think I immediately felt like I couldn’t live without it.
But before I realized it, I had done so much. Along the way, I’ve encountered countless things—some visible, some invisible. Each experience makes me think, “Next time, I want to try this,” and then I dive back in again. I’ve been fortunate to meet so many people and moments through DJing, and I’ve become completely captivated by it. I’m still having more and more fun with it, even now.
The more I enjoy DJing, the more it expands—it just keeps growing. I find myself wanting to experience everything, endlessly chasing new sensations and possibilities, and loving every second of it.
- Besides DJing, what stimulates your creativity?
Travel.
Going to the ocean.
Seeing bands, singer-songwriter shows, and visiting exhibitions or works by artists.
Good food.
- What kind of mindset is important to you as a DJ?
A sense of love for what you do.
- Do you have any advice for people who are about to start their careers as DJs, especially younger aspiring DJs?
DJing isn’t just about playing good records. More than anything, it’s an act of transformation—of reshaping, even playfully deceiving the ear and recontextualizing what’s already there. That’s what makes it so compelling. So let’s touch it, experiment with it, and enjoy it as much as we can.
- What plans do you have for 2026?
I’m also currently working on my own music. My goal is to release a 7-inch single, as well as a mini-album. I’d really love for you to listen to those as well.
As for DJing, this year I want to continue traveling—across countries and cities alike—playing in all kinds of different situations. And for a while now, one of the things that’s been especially meaningful and motivating for me is collaborating with people who express themselves in various fields beyond music. I hope to create many more of those kinds of projects this year, too.
