The Ongoing Rennaisance: An Interview with Satoshi Tomiie

November 25, 2008 4:47 PM
by Michael Maryanoff (Photo by: Hyunwon)

It seems a bit odd that Satoshi Tomiie would release a mix CD on Renaissance about a year after his last one. But dance music moves at a quick enough pace that he can do so while still offering something completely different. To mix it up even further, Satoshi even adds some of his own production to this two CD compilation. Some people describe his sound as progressive, but he keeps proving that labels don’t stick to him very well.

CoolJunkie recently got the chance to sit down with Satoshi to talk about what shapes his signature and malleable sound.

CoolJunkie: It’s been such a short period of time between your last Renaissance CD and now, what is going to be different this time around?

Satoshi Tomiie: I picked the songs to get a deeper house feel with a tech influence. CD two has a little more energy than CD one. It’s a natural progression overall. It’s much deeper than the last Master Series. Its how you build it. It’s almost like cooking, using the different ingredients, how you put it together. The language is the same but the wording is different.

CJ: Why Renaissance?

Satoshi Tomiie: Basically they give me freedom to make the CD. They really respect the DJs who are compiling the CDs and they trust their skill and taste. They basically don’t say anything and just accept the product. Working with people like that is really amazing. The overall package and the art direction is really top of the line. It’s really cool to know that the people behind the name understand what they’re doing. Not just with the Masters series, they’re just good to work with.

CJ: People like to peg DJs with labels, do you resent that?

Satoshi Tomiie: I personally hate it. For marketing reasons it’s convenient, but basically I hate it. For me it’s just playing good music, period. If someone says “I play minimal,” that’s fine but in my personal opinion, it’s narrowing the vision of the people actually listening to it. People say John Digweed is progressive, but I don’t think he’s playing one style all night. Sometimes they call something techno because Richie Hawtin plays it but at the same time if a progressive DJ plays it people say it’s progressive. I think it’s just bullshit. I can’t just stay in the same place a long time because there is a lot of good music. There is no reason to stop and play the same thing over and over. I’m a little bit sad that if you say “house” it represents one particular style of house music which is more mainstream and commercial. I have to make them understand in a few words, so it makes it really difficult. I just call what I play electronic, it can be anything.

CJ: Why did you decide to add keyboards and effects to this mix album?

Satoshi Tomiie: I try to get a little bit interesting and make it similar to the studio stuff. This is something I created, producing the compilation rather than just mixing it. I play a little bit. I’m respecting the song, so I didn’t want to do over the top. I was just adding the intro and the some effects here and there. I also mixed in key, and did it smoothly, it took a while to get it right.

CJ: On one extreme, some people like to do things live and on the fly when they mix and some people are purists making sure you hear the most of every song. Where do you fall on this spectrum?

Satoshi Tomiie: It think it’s whatever you’re comfortable with. Right now I’m using the Serato and it’s quite a good piece of gear that I’m really happy with. I think it’s whatever you’re comfortable with, it doesn’t have to be the wrong way to do this job.

CJ: How does Japan compare to the global clubbing circuit?

Satoshi Tomiie: It’s difficult to say in a few words. It’s been 20 something years that club music has become popular and has been stable. But it’s not as big as it’s supposed to be. If you think about the population, it’s really small. It’s been healthy and people have been into it and have been supporting it. In Tokyo they’ve been really spoiled. Many international people coming every weekend for years and years so they get spoiled. It’s really healthy and traditionally the Japanese clubbers have been into the techno for a long time. It’s probably the biggest thing along with the psy trance, unfortunately (laughs). House music is next and hip hop is big too. The difference is that it’s far. When you go to Europe, if you get on a plane in one or two hours you are anywhere so it’s kind of like we stand alone. Of course there is the influence from outside, but it’s developed the Japanese taste of the club culture. It’s not because I’m from there, but confirmed by the other DJs.

CJ: It’s always a place that I’ve wanted to visit.

Satoshi Tomiie: When you go there coming from other cultures you’ll find it really interesting. The difference between the States and Europe and the States and Japan is obvious.

CJ: You have a background in jazz and keyboard, what role does that play in your music?

Satoshi Tomiie: I don’t think you hear a direct influence. When hip hop culture was introduced in Japan, I was shocked when the turntables became the instrument. That was the actual reason I got into club music. Back then there was no house music so it was the only club music available.

CJ: Did playing an instrument make it easier to transition into house music production?

Satoshi Tomiie: I don’t think it makes a difference, but it’s good to know how the music is built. I don’t think it’s mandatory, but to me it helped.

CJ: Your first big track was Tears with Frankie Knuckles. How was it going from local recognition to making a track with the godfather of house?

Satoshi Tomiie: Everything happened so fast. A that time I was discovering myself. Back then not many record stores sold that kind of music. There were no magazines, radio, or TV so it was just my friends talking about and listening to DJs. Info was really limited. Everything happened so fast it’s like “wow what’s going on?” I felt amazed afterwards, not at that time, I mean it was great, but I discovered how amazing it was afterwards.

CJ: What do you have planned for the rest of the year?

Satoshi Tomiie: This weekend and next I’ll be touring South America. After that, I go back to Tokyo and have my birthday party at the Womb, then it’s back to Brazil and then the States for a few weeks, so it’s nonstop again.

CJ: Do you have studio time coming up?

Satoshi Tomiie: I’m actually planning a new single which is track one on CD two. I’m using the artist name Mes. I’m waiting for the remix, and as soon as we receive the remix it will be released, probably early next year.

Click here to hear more from Satoshi Tomiie.