- Today, you joined AHS while back in Japan from your home base in Toronto. Have you been living in Toronto for a long time now?
It’s been about 10 years now.
- In Toronto, I understand that you still occasionally work at Cosmos Records, which was also featured in the Whole Earth Record Store Map. What kind of person is the owner, Aki, to you?
These days I only work there a few times a year. Aki is a very humble person, and he always speaks to me in a friendly, down-to-earth way. But of course, his knowledge of DJing and records is absolutely monstrous, so I still get a bit nervous every time I see him. That said, he’s so kind and generous that he never makes you feel that way.
- Could you share the thoughts and ideas behind this mix?
I usually play mostly disco and boogie, and for this mix I wanted to bring the vibe of my regular party in Toronto as it is. So I selected tracks rooted in the early ’80s and post-disco—things you can really dance to and easily picture on a dance floor. I also mixed in a few newer releases here and there.
- Out of the records you played today, were there any tracks you were especially eager to share with the audience? Could you highlight a few selections and tell us why you chose them?
One record I absolutely wanted to play today was “Living on the Verge of Leaving” by Elusion. I’ve always loved vocal tracks, and this one in particular feels really uplifting and soulful—it really speaks to me. I’d liked it for a long time, but I didn’t own the LP until recently, so this was actually the first time I was able to include it in a DJ set. I often bring the track I most want to play toward the closing, and today was the same—I built the set gradually with this song in mind as the final destination.
Another one is the single of “Too Much Too Soon” by T.S. Monk. It’s not particularly expensive or rare, but I don’t hear many DJs playing it. Other tracks of his might be more well-known, but personally I love this one—the vocals are great, and even including the slightly cheesy instrumental break in the middle, it’s such a danceable tune. I play it a lot. If you’ve ever been to one of my parties, you’ve probably heard it. It’s kind of a “Sakiko signature” track.
If I had to pick one more, it would probably be this: “Travel With the Music” by Vincent Arthur & Dagomba. It’s a super danceable Afro-disco track. There’s a record shop in Toronto called Prairie Records—Aki from Cosmos used to work there—and one of the staff working there now recommended it to me, saying, “This is good, you should check it out.” It was originally a single cut from a track on their 1986 album. This copy is a 2024 reissue, but it’s been one of my favorites since around last year, and I play it quite often.
- How would you describe the current club scene in Toronto?
It’s hard to sum it up in just one sentence, but there are quite a lot of venues. Right before the pandemic began, more and more music bars started opening up where DJs could play vinyl. That created a demand for DJs who could play music that suited those spaces, and as a result, some DJs who had been active during the vinyl heyday of the ’90s—and were semi-retired—have started coming back to the scene. Younger DJs and crowds seem to be following that movement as well, so this moment feels like a kind of generational overlap. Overall, there’s definitely a strong sense of energy in the scene right now.
- Now that you’ve returned to Tokyo for the first time in a while, have you noticed any changes in the club scene or record culture?
In today’s Tokyo, I feel that both record shops and clubs are increasingly in a situation where they have no choice but to market “that fleeting moment” for people who don’t actually live there but want to come and enjoy it. That’s why I believe this is a time when our ability to recognize and value spaces that truly care about emotional refuge and genuine human connection really matters.
- Are there any record shops you always visit (or would like to visit) when you return to Japan? If so, please tell us why.
I try to make the rounds at most of the major shops. I was especially happy to finally visit Amsterdam Records in Chigasaki for the first time on this trip. Whenever I’m in Osaka, I also make sure to stop by Groovenut Records. Both shops give you that reassuring feeling that you’ll definitely find something great—but at the same time, there’s the nerve-wracking sense that you might end up spending far more than you planned. (Laughs) Record shops run by DJs are, after all, important places of study and learning for other DJs as well.
- What do you think is the appeal of DJing with vinyl?
The more I learn, the more I’m confronted with how little I truly know—that feeling of a lifelong unrequited love is part of what makes it so compelling to me.
Also, DJing with records is, in a way, an act that requires you to stake a certain part of your life on it. That’s why a person’s way of living becomes vividly visible through their play—there’s no real way to fake it. That, too, is one of its greatest attractions.
- Besides DJing, what stimulates your creativity?
Thinking about the universe, having a rebellious spirit, burning incense (lately I’ve been especially into the scent of kyara), and watching the YouTube channel of comedian Naoki Matayoshi.
- What kind of mindset is important to you as a DJ?
My goal is always to create a space where the guests remain the true protagonists. To do that, I stay fully focused throughout the entire event and select tracks flexibly, responding to the moment as it unfolds. The greatest joy for me is seeing people dancing facing each other, completely absorbed—without even sparing a glance at the DJ booth.
- Do you have any advice for those looking to start a career as a DJ?
Listening to music across a wide range of genres and going out to as many different parties and spaces as possible. Talking with seniors at record shops and learning from their stories. Engaging with forms of art beyond music as well. Because what I do is ultimately about output, I believe that input is absolutely essential.
- What plans do you have for 2026?
I was fortunate to receive a booking in Vancouver on Canada’s west coast for the first time (shoutout to Kozue!). I’ve also traveled several times to DJ in Montreal, which is east of Toronto. Building on those experiences, I’d love to keep DJing in more and more cities. I’m also open to bookings outside of Canada—feel free to reach out!
