Today there’s many creators who are not interested in the Japanese scene and go overseas, and they’re making their debut in different ways as before via the internet, etc. Did you go to America around 19…?

In 1988 or 89. It’s hard to communicate to each other because we only had a telephone in those days. And a tape. It was impossible to send the data by burning to a CD. In that sense, the technology has progressed and also people who are involved has increased compared to those days.

One of the reasons why I went to NY is there was no place where I could act in Japan and there was nobody who was interested at record companies. Even if there was someone who was interested, they couldn’t easily understand it. I didn’t think I could work in Japan. Going to NY was the quickest way to do things I wanted rather than stay in Japan.

Do you think it’s good that the young talent is flowing overseas?

Well, it’s not good in order to make a Japanese style and the Japanese dance music scene. It’s a delicate balance. But I think they’re going overseas because it’s a quicker way, because they got nowhere in Japan.

In other words, the Japanese scene has to depend on imported music software because dance music’s success in Japan seems hopeless. But when the range of the Japanese scene is expanded and more people become to listen to and do music, everything will be covered in Japan and talent won’t flow overseas. In that sense, I feel the Japanese scene is still young.

Then what should we do for Japanese music? Should record companies release music software to have ordinary people generally listen to more music?

There is no sense if record companies will just release such software. I think no one can give an answer to this question. Though I’ve never thought carefully about this, as I have no intention to change the Japanese scene with my music. Well, I don’t know what to do…

For Europeans, dance music is a popular music. This is a difference between the culture of nations, so there’s only one way to get over little by little. It’s impossible that core club music quickly becomes the mainstream. Recently there’re lots of R&B style singers in Japan, this R&B boom will die down soon though. It’s important to let this tendency take root.

There was a Techno boom before, but it was a bit vulgar. Actually, Techno is not popular now in Europe compared with what it once was. Even in Germany, House music gains force rather than Techno, I think. Somehow I feel the disco style House that is now poplar in Europe cannot be accepted in Japan. This is my feeling by playing as a DJ in Japan. I’ve got reactions that weren’t so good. I hope that the sounds just like NY Hard House takes root in Japan and everyone enjoy sounds not thinking about anything.

In a word, that ordinary people are listening such music normally. If a boom breaks out because it’s new, it’ll die down soon and nothing will be changed forever. It has became good little by little for these last 10 years, but large scale parties with audiences of ten thousand cannot be held easily in Japan. I think there’s not so much difference between going to a large party and going to watch a soccer game for the English. If the large parties are held regularly and the scene is expanded, it becomes better.

Do you have any plans for the near future?

I’ll go on a European tour this summer. Combined with the promotion of the same album which will be released in September in Europe. I’ll go to Singapore next month then go to England, Germany, Italy, etc. until the beginning of autumn. I’m thinking to remix some records and produce 12″s when I have time to spare.