- You’ve had a long career as a DJ, but these days yoga is your main profession. To start, could you introduce yourself and tell us a little about what you do?
I've been studying traditional Ashtanga Yoga, for more than twenty years. These days I'm based in Fukuoka and regularly travel to India, where I continue my practice and work as an authorized teacher. Recently, yoga has become the main focus of my life, so I haven't been able to devote as much time to DJing as I used to. That said, I've been DJing for around thirty years now.
- Could you share the thoughts and ideas behind this mix?
Lately, there’s been a theme that I keep in mind whenever I DJ or engage with music, and that theme is “prayer.” Going to India has made me even more conscious of that idea, and I think a sense of prayer was very much a part of this mix as well.
- Among the records you played today, were there any tracks you were especially excited to play or particularly wanted to introduce to the audience?
There were a few records I definitely wanted to play today, and one of them was “Köln, February 23, 1975” by Terry Riley & Don Cherry Quartet. Because Don Cherry is involved, it feels more rooted in jazz than Terry Riley’s solo work. At the same time, I can really hear the influence of Indian classical music in it—the melodies, the instruments, and the sounds that Terry Riley absorbed through his experiences with that tradition. It’s a record I have a strong personal connection to. Since we were recording during the daytime, and with such a beautiful season ahead of us, I felt it was the perfect record to play today.
Another one was “Tehillim” by Steve Reich. I first discovered it in high school through someone I had a crush on at the time. I still vividly remember him saying that it was the piece he wanted played at his funeral. The looping female voices in the work really stay with me—they sound as if they’re echoing continuously through a church. I don’t understand the literal meaning of the words, but I feel a profound sense of prayer in the music. That’s one of the reasons I’ve been playing it quite often in my DJ sets recently.
And then there’s a record I was desperately searching for yesterday, wondering, “Where did I put it?” It’s “Programmed,” a 1999 box set by Innerzone Orchestra. I love every track on the album, but “Architecture” has always been a particular favorite of mine. Despite what the title might suggest, it has this vast, expansive sound, and then these incredibly deep bass tones and kick drums emerge from within it. It’s a piece that always catches my attention and leaves a strong impression. I played it constantly about twenty years ago, so my copy is completely worn out. But I felt like hearing it again and sharing it with people, so I brought it with me today.
- As an authorized Ashtanga yoga instructor, has your discovery of yoga influenced the kind of music you usually listen to, your approach to DJing, or your relationship with music itself?
People often say that music is about enjoying sound, but many of the people around me seem less focused on the idea of “enjoyment” and more interested in exploring sound itself. I think that has influenced me as well. Through music, I’ve developed a strong desire to explore sound on a deeper level. Because of that, I’m no longer particularly attached to DJing as a form in itself. I’ve come to feel that there are many different ways to explore sound, and DJing is just one of them.
- Having spent many years engaged with both yoga and music, do you see any shared elements or connections between the two? Without spiritual help music has effect.
The exploration of music and the exploration of Yoga are essentially the same. Both are spiritual practices—the only difference is the tool being used: sound, the physical body, or something else entirely. The path of Yoga that uses sound as its medium is known as Nada Yoga.
The Guru of Indian classical raga music, Pandit Pran Nath—who was also the teacher of Terry Riley—left behind these words in the documentary In Between the Notes:
”Wtihout spiritual help music don't give effect music will be music but some special effect making spiritual help to the musician"
In the context of his Indian English, what he is essentially saying is:
Music alone cannot produce its fullest effect. Music remains music, but when it is supported by a spiritual connection or deeper inner practice, it gains a special power and depth through the musician. It is that spiritual dimension that allows music to transcend mere sound and have a truly profound impact.
And then, he recites a shloka dedicated to Lord Krishna and speaks of “love and devotion.” It is likely that he is referring to Chapter 9, Verse 26 of the Bhagavad Gita.
पत्रं पुष्पं फलं तोयं यो मे भक्त्या प्रयच्छति ।
तदहं भक्त्युपहृतमश्नामि प्रयतात्मनः ॥
Whoever offers Me a leaf, a flower, a fruit, or water with love and devotion (bhakti), I joyfully accept that offering made with a pure heart.
The phrase “Love and Devotion” refers to complete trust in God (Krishna), surrender, wholehearted dedication, and the offering of all one's daily actions to the divine. It signifies selfless love and a deeply devoted form of love.
In this view, music is understood as an offering to God. Without bhakti (devotion) on the part of the performer, the music cannot fully express its true rasa—its essence, flavor, or spiritual effect. The message is that by setting aside the ego and offering oneself completely through a pure love and devotion to art and music itself, music is transformed from mere sound into something endowed with spiritual power.
Both yoga and music can only be truly received when approached with the spirit of prayer, love, and reverence that people once held so dearly. Only through such an attitude do they reveal their deepest meaning and potential.
- You’ve performed as a DJ in India on several occasions—how would you describe the club music scene and club culture there? Are there any unique aspects that stand out to you?
I toured India as a DJ back in 2013–2014, so it was quite a long time ago now. Around that period, a track I had produced for the LA NIN compilation released by BLACK SMOKER RECORDS in 2012 was also issued on 12-inch vinyl, which probably made promotion a bit easier.
While traveling in India, I became friends with an Indian who ended up managing the tour, and together we organized dates in Mysore, Bangalore, Mumbai, and Goa. At the time, apart from the trance scene, there had probably never been a Japanese—or even Asian—female DJ performing there. There were also very few DJs playing sets centered around deep techno and deep house.
Since around the pandemic, Indian musicians and DJs have gained tremendous momentum and are now active around the world. But back then, very few people in India even had access to proper DJ equipment. Most were producing music on cheap, worn-out gear left behind by Western travelers, or DJing with whatever music files they had managed to obtain.
Whether through hearing me play or simply through word of mouth, I received messages from many young Indian producers and DJs asking, “Can you listen to my tracks?” or “How can I improve my skills?” What struck me most was their hunger, determination, and incredible capacity to learn and absorb new ideas.
At the same time, it made me think that Japan could easily be overtaken if it became complacent. Even then, I felt that India’s energy and growth would eventually surpass a Japan facing a declining birthrate. Today, India is often described as one of the world’s youngest nations, with people in their twenties forming a huge part of the population, and that demographic strength has helped fuel its remarkable social and economic growth.
Under a powerful sun, a country propelled forward by ambitious young people is filled with possibility and an extraordinary vitality for survival.
- While you also perform digital DJ sets, what do you find most compelling about playing with vinyl?
What I like most about records is the sound. There’s a softness and thickness to the sound that’s unique to analog.
Then there are the jackets. There’s so much great artwork.
And also, the fact that they’re round. I like the energy that circular things give off. They never stop—they just keep going.
- What kind of mindset is important to you as a DJ?
When you end up in a position where you’re in the public eye, people naturally tend to focus on you. Even in that kind of position, it’s important to continue having respect and gratitude for the people and things around you.
- Do you have any advice for those looking to start a career as a DJ?
Are you acting for yourself, or are you acting out of love for music?
The path you choose can diverge greatly depending on whether it is driven by self-interest or by a desire to serve something beyond yourself.
I hope you will continue to have a devoted love for music.
- What plans do you have for 2026?
To continue studying and practicing raga under the guidance of Terry Riley.
I’d also like to edit and compile the sounds I recorded in India and the field recordings I’ve collected over the years.
By sharing the power of prayer, I hope to help bring about what we wish for most: non-violence.
- Lastly, today’s session was recorded at Music & Pub FOOLS GOLD in Yakuin, Fukuoka. How was the experience of playing here?
Playing here was a wonderful experience. The speakers are positioned directly in front of the DJ booth, so I was able to immerse myself in the sound while playing in this open and welcoming space. I really enjoyed it. Thank you very much.
