- Could you share the thoughts and ideas behind this mix?
I wanted to play a set that felt true to my usual style.
Before the recording, though, I stopped by ELLA RECORDS, and I remember thinking, in a way, that the atmosphere of the shop might end up influencing where I took the DJ set (laughs).
In the first half, I definitely found myself drawn in by that vibe. But as I played, I was also trying to find the right balance between the mood of the day and my own style. In the end, I think it settled into something quite close to the kind of set I would normally play.
- As the set progressed, it gradually got more wild and messy, which really felt like your signature style coming through.
Exactly.
From around the middle of the set, I felt like I was able to build a really nice, booty-driven groove. Usually, from that point, I’d keep raising the BPM and eventually take things to a peak with juke and footwork. If we’d had another hour for the recording, I probably would’ve made it all the way there today as well (laughs).
- Among the records you played today, were there any tracks you were especially excited to play or particularly wanted to introduce to the audience?
First up is *Funk Brasil Especial IV*, compiled by DJ Marlboro. There was a time when I was deeply into collecting early baile funk from the late ’80s through the early ’90s, and this is a funk compilation released in 1994. I think I played it today right after moving out of the house section. The vibes are just incredible. I love the way the unique local rap style blends with those perfectly raw, slightly unpolished synths over the beat, and it’s a record I come back to often.
Next are two reissues of Baltimore breaks produced by DJ Technics, released on the Butter Notes label: *Butter Notes 1* and *Change Positions / Party People*. There’s something wonderfully outrageous about them—in the best possible way. I really admire music that commits so fully to its own sense of fun and boldness.
Also, a third of the proceeds from these releases goes to a charity that teaches Ableton Live to underprivileged children in Baltimore. So if you get the chance, please pick them up. It’s not every day you can support a good cause by buying wonderfully ridiculous tracks.
Lastly, there’s *Star Wars Theme* by Interstellar Force. It’s basically the *Star Wars* theme reimagined as a Miami bass track, complete with a remix by Todd Terry under one of his aliases. This is a favorite 12-inch of mine, given to me as a birthday present by D.J.G.O..
- What first drew you to gritty, raw dance music such as Chicago ghetto house and Brazilian baile funk?
I first discovered Chicago juke and footwork around 2010. From there, I started tracing its roots backward, which led me to Chicago house and ghetto tech—music that had a huge impact on me.
What fascinates me is how these genres were developed within certain limitations—whether in terms of equipment or unspoken rules—yet still pushed forward in such original ways. That DNA has been carefully passed down through generations while continuing to evolve, which makes it such a compelling musical lineage.
I also love imagining the kind of local, everyday exchanges that might have surrounded this music—something like, “Hey, check out what I made yesterday!” “That’s dope!” (laughs). There’s something really warm and human about that.
On the surface, it can sound like the kind of music anyone could make. But in reality, that distinctly Chicago groove is incredibly difficult to replicate. It’s like a secret sauce that’s been refined over generations—something deeply rooted in place and culture. That contrast is part of what makes it so special.
One of the Chicago artists I deeply respect, Traxman, once said that the word “ghetto” can refer not only to where you live or your economic circumstances, but also to a sense of hunger and determination in relation to music—a positive, driven mindset. It’s not a term I use lightly, but I do think it reflects the spirit of being deeply committed and relentlessly hungry in one’s musical pursuit.
That’s also one of the reasons I’m so drawn to early Brazilian funk. I see it in a similar way: young people in Brazil, inspired by electro and Miami bass in the late ’80s, creating something entirely their own through a local lens. I’m especially drawn to releases from the late 1980s through the mid-1990s, before the genre was fully established—records full of raw energy, experimentation, and that unmistakable sense of initial creative impulse.
- From your perspective, how is the scene for these genres currently developing in Japan? Do you notice any differences in the size of the scene or the audience compared to overseas?
When it comes to Japan’s footwork scene, artists like D.J.Fulltono and Oyubi have been especially influential. What I find so exciting is how each artist draws inspiration from Chicago while pushing the music in distinctly Japanese directions.
That’s also one of the guiding ideas behind my label, KSW. One of our core themes is to carry forward the essence of juke and footwork born in Chicago while blending it with a uniquely Japanese sensibility and an experimental approach. Our artists, including D.J.G.O. (also known as SAUCEMAN) and Satanicpornocultshop, really embody that spirit in their work.
Another distinctive aspect of Japan’s scene is the strong presence of footwork dancers. There are so many talented dancers here, and I think that has helped the culture develop in a way that feels remarkably close in spirit to Chicago, while still evolving on its own terms.
In Tokyo, there’s a monthly event called OPEN CIRCLE, held at Yomukikunomu in Harajuku, where dancers and DJs come together.
While the scene may have settled somewhat from its initial surge of excitement, I believe Japan’s footwork community has continued to grow in fascinating ways. Even on a global scale, it remains one of the most interesting and uniquely developed footwork scenes in the world.
- Are there any record shops in Japan you’d recommend for digging records in these kinds of genres?
For new releases, I’ve long relied on naminohana records in Osaka. In fact, the Butter Notes 12-inches I mentioned earlier were ones I found there, and I’d say a large portion of the newer records I played today also came from them. I live in Tokyo now, so I don’t get to visit as often as I used to, but I still regularly keep up with their online store.
As for older records, I’m always inspired by the recommendations I get from Kunitomo, the owner of pianola records in Shimokitazawa. The records he introduces me to are consistently exciting, unexpected, and full of discovery.
- What do you think is the appeal of DJing with vinyl?
These days, I play mostly with digital files, but when it comes to ghetto tech, early Brazilian funk, and other tracks that were only ever released on vinyl, I still play them on record.
Whenever I do, I’m reminded of how special that process is—physically picking up the sleeve, taking the record out, placing the needle on the groove, and letting the sound come through. There’s something deeply satisfying about that ritual. It really puts me in the moment, and I think that energy is something the dancefloor can feel as well.
- Besides DJing, what stimulates your creativity?
Recently, about twice a week, I’ve been joining a morning radio calisthenics session at a nearby park with footwork dancer Junya (Chikob). It starts at 6:30 a.m., and afterward, we stick around for some early-morning footwork dance practice.
Part of it is simply wanting to stay active and healthy, but it’s also tied to something we were talking about earlier—that “secret Chicago sauce.” I have a feeling that the same elusive groove exists within footwork dance itself.
I’m really interested in the idea that by physically learning and internalizing that rhythm through dance, it might eventually influence or even transform the way I make music. I think that could lead to something really exciting.
- Do you have any advice for those looking to start a career as a DJ?
Above all, just give it a try.
Go out to parties, meet people who share your interests, and start something together. Or stay home, make a DJ mix, produce some tracks, and put them out into the world. Once you start moving, something good is bound to come back to you.
I think what matters most is giving shape to the very best of what you can do right now—capturing it, preserving it, and sharing it with others. That act of putting your work out there is incredibly important.
- What plans do you have for 2026?
I’m planning to release my own album on KOOL SWITCH WORKS sometime this summer.
We also have several exciting releases lined up from friends and collaborators, both in Japan and abroad, so please stay tuned for those as well.
