Yasuo Takata aka DJ Pi-ge

by Edouard Morin

The hog never looks higher than his head and that as many persons. But the problem is that they might risk overlooking important stuff!

Born and raised in Osaka, Pi-ge moved to Tokyo 10 years ago, where he started in 2006 as a resident for the party “Organza” and in 2007 he was DJing at the “TRESVIBES” for Womb, which is considered by DJs/producers like Laurent Garnier as one the best clubs in the world.

Leading a new movement within the techno/house music scene of Japan, Pi-ge set up his own label in 2010 called “Pan Records” partnering up with Ryo Murakami and Sisi. One year later, he released his first EP “KONOMAMA” with Mathias Kaden under the name Mathimidori & Pi-ge on Raum…Musik.

Thanks to his classy touch, the Tokyo-based DJ is a beautiful incarnation of the Japanese’s wisdom and discretion.

Hi Pi-Ge! Introduce yourself please…

I’m DJ Pi-GE from Tokyo. I started to DJ when I was 17. I played all kinds of music, from rock to techno… I think I found my new style when I was going to Tanaka Fumiya’s parties. Nowadays, I DJ at Womb, Eleven and Warehouse 702 in Tokyo but also in Osaka and Kobe. In Europe, I’ve DJed mainly in Germany. However, I will play for the first time in Paris on 15^th March at Rex Club with D’Julz for his monthly Bass Culture party. I’m really excited!!!

As resident in one of the most famous clubs in the world and with your European tour last year, tell us what makes Japan so special compared to Europe?

To be honest, I don’t think Japan is so different to Europe and the US but I prefer European cultures and traditions because they provide me with a different feeling: when I DJ there, I can feel that I’m establishing a dialogue with the crowd when I play my music, which makes me wonder if this is how the dance music culture came about. And yeah, Japanese music media will never interview me for a start! Journalists mainly focus on big names.

How would you describe the Japanese scene?

I guess it’s similar to Europe but the number of people who go out to clubs is decreasing. In Tokyo, entrance fees are very expensive (€25-45) because of clubs‘ central location. Therefore people go to outdoor festivals during the summer or concerts during the winter. On top of that, there have been some issues between clubs and the police in west Japan (Osaka, Kyoto, Fukuoka): certain clubs may only open during daytime. I don’t really understand why the government is enforcing this new law now. I’ve the feeling that what happened in west Japan could happen in the entire country.

http://www.cnngo.com/tokyo/visit/time-change-strange-adult-entertainment-law-japan-273494  

Given that it is very expensive to rent a club, there is very little left to pay the DJs and there are always risks when we are organizing house/techno events.

Some of my friends, like STEREOCiTi, Den and my label partner Ryo Murakami, are often backed by European names, which makes it easier for us to throw good parties.

Besides, Japanese clubs are known for their great equipment and their set up. Actually the best one in the world according to DJ booth setting, decks, mixer, monitors, etc.

How easy is it to get booked in Europe being a Tokyo-based DJ?

Very hard. In my case, I was just lucky. My first time was 4 years ago when I played in Berlin (Watergate and Bar 25), Lausanne and Nürnberg. I was booked by artists who I played with in Japan. As I’m not with any agency, am handling bookings for myself and for my friends. Now I’m very fortunate because I’m booked every year to go to Europe.

Do you have music preferences? And who are your favourite producers/DJs?

It’s really hard to choose. I really love the techno from Detroit. However, I listen to all sorts of 90s electronic music.

If I were to pick one, it would be ZIP. I’ve seen him perform twice: at the Panorama Bar and Yellow (Formerly known as Yellow and Spacelab Yellow, Eleven is now the new name of the same space that once held Tokyo’s most revered club, Editor’s note). Both times he was amazing.

You released your first EP “KONOMAMA” in 2011 with Mathias Kaden. How did you two meet and why did you decide to partner up on a new track?

I met him four years ago when I played with him in Japan. Since this day, we’ve met every year during his tours in Japan and at some point, we came up with the idea to work together on an EP. At the beginning, I was mainly DJing and this adventure gave my the opportunity to finally create my own stuff. That’s why it didn’t come very quickly but we’ve succeeded in producing it and “KONOMAMA” was born in my studio in Tokyo.

In 2010, you started to run the label pan records with Ryo Murakami. What was the driver of the union?

I just wanted to set up a label with my friends Ryo Murakami and Sisi.

Mule Musiq (Japanese label run by Toshiya Kawasaki, Editor’s note) was already big and is actually one of the few which is distributed all around the world. In fact, even if there are Japanese labels, they are only distributed in Japan. So, I thought it could be nice to start a Japanese label which is distributed all around the world.

Furthermore, I have a friend who works at Word and Sound, which made things easier to run pan records.

Three years later, you’ve JUST released three EPs…

Haha! You’re not the only one to ask me about that! You know, the fact that Japan is so far from the rest of the world makes things trickier: shipping costs, time difference, etc. Hopefully we will be able to release more tracks this year… .

What will be your next release on pan records? Is it your turn now?

I have been thinking about this for a while but first I’m going to release the first pan records compilation „Pan Sampler Vol. 1“ with mostly Japanese artists: Sai, Naoki Shinohara and myself but also with Dennis Uprock from Denmark. So check the next release out!!!

Anyway, do you have any upcoming releases for 2012?

Oh yeah! I forgot to mention an upcoming EP named “Candyland” on Arpa: label run by my friend DJ Sodeyama. It should hit the shops early in 2012.

We all know about the disaster that happened in Fukushima. Did it have an impact on the Japanese electronic scene and on your work?

Definitely. Times were tough after the earthquake. People stopped going out. In addition, we had to save electricity forcing clubs to close for a while. The number of my gigs decreased. It gave me more spare time to focus on my personal work.

But a few festivals had to reschedule as some American or European DJs refused to come to Japan because of radiation and fear of new earthquakes: it was a big blow for promoters.

Did I forget something you would like to speak about? 

Yes, I think Japan is a great country not only for the music but also for the Onsen (“hot spring”) and the food. Therefore I would encourage everyone to come and visit us in Japan!

Check out his mix:

https://files.me.com/pige/zll91j.mp3

auji.industries + Ryo Murakami + Stereociti + DJ Pi-Ge + Sisi / Pan Records Showcase at Seco Bar, Tokyo / 28.08.2011 from selective pressure + on Vimeo.

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* Edouard Morin is a Berlin-based French DJ/producer (crackirecords)