- Could you share the thoughts and ideas behind this mix? I felt that you included some big, crowd-pleasing tracks as well, giving the impression that you had the dance floor in mind.
I put this mix together around tracks I’ve been playing a lot in my recent DJ sets. While driving from Kochi to Takamatsu with Flofilz we were listening to ’90s classics, and I’ve also been digging through old jazz at record stores — those recent experiences shaped this mix. Since it’s on YouTube and I figured most people will listen at home, the first half focuses on songs you can really sit with, and the second half gets more varied — I hope listeners find something nostalgic or discover a track they’ve never heard before.
- Can you tell us about your usual approach to creating mixes?
For a one-hour mix, I usually start by deciding on a few records I recently bought or have been really into, and then build the whole thing around them. DJing is very much a “once-in-a-moment” kind of thing, so I try to follow whatever I’m feeling at the time. When I listen back after recording, I often realize the flow isn’t exactly what I had imagined — that happens a lot.
- What do you think is the appeal of DJing with vinyl?
I recently had the chance to DJ in Kyoto, and for the first time in a while I played using a USB. I was able to rock the crowd, but the hard part was the track selection — having to choose songs based only on text info was tough. With records, you can rely on the jacket and all the visual cues while picking tracks, which I personally find really helpful.
- 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.)
The needles I used today were customized for me by EAD Records in Koenji. They swapped the lead wires and the body for wooden ones. Wood resonates better than plastic, and although I used to think such tiny lead wires couldn’t possibly make a difference, I do feel there’s at least some change in the sound.
If you’re interested, take a non-Concorde cartridge to EAD Records — Yozo, the shop owner, will kindly walk you through everything.
- You’ve described yourself as a ‘chameleon’ DJ who can handle everything from house to hip-hop and beyond. Within that wide range, is there any genre you’re currently most into digging, or one you particularly enjoy playing right now?
When I was a teenager, I listened almost exclusively to hip-hop and house, so those are definitely the genres I know best.
Lately, I’ve been really into jazz, world music, and Japanese records. With jazz, I’ve even started dipping into those original ’50s and ’60s pressings—the ones that are so expensive they feel almost impossible to buy. World music has tons of incredible records, but they’re pretty hard to dig for, so I usually ask for recommendations at Ella Records or get tips from friends.
I sometimes get opportunities to DJ abroad or appear on overseas radio shows, and being Japanese, I feel like I should know at least some Japanese music, so I’ve been digging more into that as well.
The Japanese jazz that Flofilz introduced me to is amazing—the only problem is that the records are *really* expensive, haha.
- You previously lived in the U.S. and worked as a DJ there as well. From your perspective, what are the differences between club culture in the U.S. and Japan, and what do you think are the unique strengths of the scene in Japan? Conversely, are there any aspects where you feel Japan ‘could be more like this’?
What really amazes me about Tokyo is simply how many clubs there are. Even in places everyone admires, like New York or London, I don’t think there are that many venues with sound systems this good.
Japanese DJs are incredibly meticulous and highly skilled, and I genuinely think the level of vinyl DJs here is among the best in the world.
Something I’ve been thinking about recently is how Tokyo’s scene is almost *too* fragmented. Different communities don’t interact much. I feel like if we all took a bit more interest in other scenes and had more cross-scene interaction—kind of like cultural exchange—it could lead to really positive things.
Sorry if that sounded a little presumptuous…
- You also have a career as a photographer. Do your experiences or sensibilities as a photographer ever feed back into your work as a DJ? If so, in what ways?
As a photographer, I often travel to different regions for work, and I end up buying records while I’m there, so I’d like to think that brings a positive influence in some way. I feel there’s a common thread between photography and DJing—both rely heavily on observation. Photographers observe their subjects and the scenery, while DJs watch the atmosphere on the floor and the energy of the crowd.
There are quite a few people who are both photographers and DJs, so I’m really curious to hear their perspectives as well.
- Besides DJing, what stimulates your creativity?
Conversations with friends, hearing stories from people in completely different fields, going for walks, cooking, traveling and seeing new scenery, talking with people from other countries… There are so many hints scattered throughout everyday life. I try to keep my antennas open so I can pick up as much as possible.
- What kind of mindset is important to you as a DJ?
As a DJ, the thing I value most is track selection. Everyone’s mixes are so good that I can’t compete with that, so I always aim to be the kind of DJ who makes people think, “Wait, you’re playing this track at this moment!?”—something that sparks excitement.
- Do you have any advice for those looking to start a career as a DJ?
Buy lots of records, go out and have fun, make tons of mistakes, and try copying your favorite DJs. Keep at it!
- What plans do you have from the end of this year going into 2026?
Next year, I’m working on a major photography project, and if the shooting goes well, I’m hoping to hold an exhibition. I also want to expand my DJ activities in Europe.
