Thanks to the connections music has brought me, I’ve been gradually receiving opportunities for DJ performances.
I welcome inquiries for DJ sets, live performances, and music production.
I look forward to sharing musical experiences with you.
In the depths of darkness, a single vinyl disc begins to spin quietly.
Before long, the room transforms into a resonant universe, as the needle traces constellations of sound.
That mystical space has now become a fleeting memory.
Among the thousands of records carrying echoes of eternity,
tonight, I want to unravel a special one with you.
1. Resonance and Form—The Texture of Sound in This Record
The breath of an era told through its jacket, the tactile sensation of the grooves etched into the vinyl, and the world that unfolds the moment the needle drops. I will explore the beauty and resonance of this record in depth.
2. The Coordinates of Memory—The Intersection Between This Record and Me
When, where, and how did I first encounter this record? And why could I never bring myself to part with it? Beyond my personal experience, I will reflect on the magnetic pull that music exerts over memory.
3. The Context of Sound—How This Record Lives Within a DJ Set
At what moment should this record be played within a mix? How does it resonate with the temperature of the dance floor and intertwine with other tracks to create new narratives?
Resonance and Form—The Texture of Sound in This Record
■Sound
A vinyl record conveys its sound texture the moment you hold it. The design of the jacket, the weight of the disc, the resonance when the needle drops—all of these elements combine to shape the “presence” of the record.
Monari Wakita’s “IN THE CITY” is precisely such a record.
It carries the refined air of city pop, while maintaining a strong groove. The arrangement pays homage to Ann Lewis’s “Koino Boogie Woogie Train,” incorporating elements of disco and boogie while avoiding mere nostalgia.
With a tempo of BPM 132, which is slightly fast for house music, it sways the body with a pleasant rhythm without overly emphasizing the kick. This track achieves a perfect balance between the strength of dance music, the sophistication of city pop, and the catchiness unique to JPOP.
The Coordinates of Memory—The Intersection Between This Record and Me
My encounter with “IN THE CITY” made me rethink my identity as a DJ.
Originally, my DJ style was rooted in house music. I mixed JPOP and kayokyoku (Japanese pop songs) within a four-on-the-floor framework, but over time, my taste expanded beyond BPM constraints. I started enjoying slower genres like hip-hop and faster ones like drum & bass. My playing style evolved accordingly. I also became interested in bass music, including future bass and color bass, shifting my perspective from “genres” to “groove.”
During this journey, I realized something.
Had I unconsciously categorized house and techno as vinyl, and JPOP as CD or digital files?
Perhaps my struggle to find a defining record for my DJ style stemmed from this unconscious distinction.
Then, I encountered this song, this record.
It could be interpreted through the lens of house/disco, yet it also firmly belonged to city pop.
I saw it as a bridge between the two.
In 2016, at an event called “Glitter Girls Assort Extra1” at Kyoto’s BlueEyes, I had the opportunity to perform alongside Monari Wakita and Hajimu Hase, the composer/arranger of this track. I performed a guitar-vocal set, and during the event, I had the privilege of receiving a signed copy of this record. Since then, it has held a special place in my collection.
Beyond this, I have had multiple opportunities to perform with Monari Wakita, and I have always felt an unspoken connection to her musical journey.
In the early days of crowdfunding, both Especia, the group Wakita was a part of, and our former unit tonya_harding, used the same platform (now discontinued) to successfully fund and release analog records. It was a strange coincidence that strengthened the bond I felt.
Another fantastic track of hers is “Boy Friend,” which I also own on vinyl.
Currently, Monari Wakita has embarked on a new challenge as a member of the seven-piece band “YIKO.”
Seamlessly blending rock, soul, and funk, they are carving out their unique sound. In December 2024, they released their self-titled EP “YIKO,” exploring fresh musical possibilities. I will continue to watch their journey with great interest.
The Context of Sound—How This Record Lives Within a DJ Set
In JPOP DJing, I believe there are two main approaches:
・A style that emphasizes “context” and “history.”
・A style that prioritizes the interplay of sound and the element of surprise.
I lean more towards the latter, enjoying unexpected combinations and the magic of transitions between tracks.
“IN THE CITY” is a track that holds value from both perspectives.
Its BPM 132 tempo makes it an excellent fit for house sets with disco/boogie influences. It transcends the boundaries of city pop, functioning as a dance track that speaks directly to the body. When integrated into a DJ mix, it creates moments where old and new sounds intersect, forming a unique musical narrative.
One of the greatest charms of “IN THE CITY” is its fluidity across house and JPOP.
With turntable pitch adjustments, it blends seamlessly into disco-oriented house sets, and as mentioned earlier, it can also be woven into a context-driven 70s city pop mix.
“IN THE CITY” is not just another city pop song.
It stands as a bridge between house music and JPOP, encapsulating the very essence of my DJ style.
Thank you from the bottom of my heart for reading until the end.
In your life, too, there may be sounds you can never let go of—
timeless melodies that shine vividly within the depths of memory, like stars in the night sky.
May those eternal echoes gently illuminate your tomorrow.
