Go Hiyama: Artificial Intelligence and beyond

On Go Hiyama‘s website, his biography runs like this:

Born in south Japan, Go Hiyama discovered techno music in 1994, when he got exposed to the sounds of such artists as YMO, Kraftwerk, Jeff Mills, Fumiya Tanaka and labels like Warp and Subvoice among others.

In 1995, Go Hiyama decided that it was time to start making his own tracks.

Go Hiyama has come along way over the ensuing 16 years and these days is one of Japan’s most respected contemporary DJ/producers, with EPs out through innovative imprints like Perc Trax and Audio Assault, as well as via Blank Records – an outlet that he runs with his equally talented brother Jin.

Go has also recently done a cycle of scintillating remixes, the stand-outs being his rejigs of DJ Hi-Shock’s “Darkness Below“, Virgil Enzinger’s “Shadow of the Mind“, and Chris Finke’s “Moofish” – all for Gynoid Audio.

Anyway, I’m good mates with Jin Hiyama but had never had the chance to rap with his brother Go, so decided it was fine time to do so.

TECHNO HOW? How long have you been making music?

GO HIYAMA: About 14 years.

TECHNO HOW? Am I correct to assume that the first record you made was “Wege Zur” (2002) on Coda Records? And do you still like the record?

GO HIYAMA: True. I clearly remember the scene when it was decided to release my first record. I still think it quite important to have a record – or vinyl.

TECHNO HOW? What inspired you to start making music?

GO HIYAMA: First, from Warp Records, “Artificial Intelligence“. I’ve listened them so many times that my friends were afraid I’d gone insane. That inspired me very much motivated to make music. Secondly, I owe a debt to Jin Hiyama – my brother. He allowed me to use his equipment so that I could make tracks and he gives me everything I need to know about techno, like the history or the latest info.

TECHNO HOW? How different is your studio production work compared with your DJing style and how you feel about both experiences?

GO HIYAMA: With studio production, I focus on what comes from deep inside of me: I want to listen out for sounds that move me, and to figure out my emotional response to the sounds. I’m definitely happy when the audience gets into my DJing – but what’s really important is to output myself through the actual sound itself rather than getting the dance floor excited.

With DJing, it’s like setting off fireworks – to integrate the atmosphere of the events and the excited audience, then ignite them via my DJing. I feel a bit overstrung rather than conscience, but just having simple fun is the key, maybe.

TECHNO HOW? Where exactly were you both born (hometown), and what’s it famous for?

GO HIYAMA: I was born in Saga, in Kyushu, located in the south of Japan. It is famous worldwide for ceramics, such as the Arira or Imari styles. I love the food in Saga, especially squid caught in Yobuko, which is a rich fishing area. It’s best to slice them live, which we call ikezkuri. We eat their legs tempura-style.

TECHNO HOW? You’ve released records recently through Audio Assault, Token, and Perc Trax. Are you a fan of these labels?

GO HIYAMA: Absolutely!

TECHNO HOW? And you’ve remixed Bas Mooy, Virgil Enzinger and Tomohiko Sagae. How do you go about  remixing with the Go Hiyama stamp?

GO HIYAMA: I don’t think there’s much difference between doing remixes and making my tracks. So – that’s why you asked me such a question, I guess. As I said before, it’s based on my figuring out my own emotional response to the sounds.

TECHNO HOW? How would you describe the music you’re currently making?

GO HIYAMA: It’s kind of dark, wet, heavy… can you imagine that? (laughs) It’s a totally different kind of music, anyway.

TECHNO HOW? What do you think of the Japanese music scene at the moment?

GO HIYAMA: From a macro point of view, I think we’ve been very conscious of the European music scene. One of the reasons will be that the European scene is one to chase, and the Japanese one is never close to it. But there’s a distinctive sound based on the Japanese environment that is itself starting to be born. That brings our music scene forward and is really interesting.

You’ll see many of the Japanese producers releasing their tracks through Elektrax Music, right? This kind of cross-pollination helps to cultivate the Japanese music scene and I hope it encourages people to explore the truly Japanese sound.

TECHNO HOW? Who do you think are the best DJ/producers in Tokyo/Japan?

GO HIYAMA: I don’t mention that.

TECHNO HOW? Fair enough. There are some great people making music here in Japan – like DJ Wada (from Co-Fusion), Tatsuya Oe (Captain Funk), DJ Warp, Cut Bit Motorz, Shin Nishimura, Hifana, DJ Miku, Kuniaki Takenaga, Hiroshi Watanabe, and of course veterans Ree.K, Fumiya Tanaka and Ken Ishii… and your brother Jin. Are you friends with any of these other people or have you ever worked together with them?

GO HIYAMA: Shin Nishimura released the remix “IP28 6SW” through his label Plus Records, and DJ Miku released the “Sea Gather” EP through our label Blank Records. I played with Ken Ishii on the Awakenings Japan Special and joined in on the remixes of “KI15W10″. And DJ Warp and I used to organize parties together back in Fukuoka – the largest city in Kyushu.

TECHNO HOW? Which international artists do you listen to and play in your DJ sets in 2011?

GO HIYAMA: Perc, Lucy, Peter Van Hoesen, Planetary Assault System, Forward Strategy Group, Oscar Mulero, Reeko, Surgeon, Xhin, Scuba, Martyn, Hxbd, Instra:mental, Tommy Four Seven, The Black Dog, Burial, Pinch, Fenin, etc.

TECHNO HOW? Is vinyl and the 12-inch now a relatively dead medium?

GO HIYAMA: No,it’s not dead – it’s just another way or choice of playing the best music. I DJ with PC, but some others play vinyl as you can see at any club.

Vinyl is not for DJing so much but to cherish, I guess. Go get out the vinyl out of its jacket, then put it down on the turntable, and ease down the stylus with an excited heart, awaiting the sounds. Listen to them loud, while looking back oat that record sleeve… I love that. It’s a different kind of joy, like finding your favorite chair.

It’s really sad to lose that kind of experience.

© 2011 Andrez Bergen