Fact: Shin Nishimura is currently considered the hottest DJ in Tokyo. He headlines all the major parties in Japan, is in-demand overseas, and his name is being increasingly touted around techno and tech-house circles as the hottest Japanese treat since, well, sushi.
But Nishimura isn’t content to be just a DJ – he’s also a cutting edgge, highly respected producer in his own right, and his productions have been gathering a lot of attention from respected and often famous peers around the world.
“Sure,” Nishimura says. “I often get news from my friends like John Digweed and DJ Tiesto that they played my track for their radio shows, and I noticed that Dubfire and Ken Ishii included my tracks in their charts. It’s very amazing for me. I don’t know why – I still can’t believe myself.”
While on the subject of Dubfire, it’s become sizzling news in Japan that one of Nishimua’s records was recently signed to the man’s label, SCI+TEC.
“The record’s name is ‘Frustration’,” Nishimura confirms.
“I suddenly could produce ‘Frustration’ one day, and when I finished it, I really felt that this record had taken me to the next level, you know? So I sent it to a few big labels, and then suddenly I got this mail from Dubfire, saying that he would love to sign my track. I was so incredibly happy at the time that I was jumping around the studio!”
Nishimura has also just remixed the track ‘Poiseworks’ for fellow Tokyo-based artist Little Nobody, released this week in conjunction with the original track through Hypnotic Room – Special Edition.
The reaction has been wild – Ken Ishii called the two tracks “Nice, driving, rhythm-oriented stuff”, while Commander Tom said it’s “A pure hypnotic brain twirl; very trippy, very mindblowing”.
Nishimura’s own heavily feted remix has also been dubbed grubby, dirty, dark, and soul-destroying! So, how would he himself define the ‘Poiseworks’ remix?
“This is techno,” Nishimura says, quite simply yet strikingly. “When I listened to the original track and saw the label’s style, I found myself remembering when I was younger, simply dancing to techno.”
Then he laughs. “I’m aiming at people who like to be naughty!”
Nishimura principally make music under his own name, but there’s another project he’s keen to mention: His label, Plus Records (www.plustokyo.com).
“Plus Records is run the same crew that runs our “PLUS TOKYO” parties, and that’s very important to me that the label and parties are related to one another. Label-wise, these days we’re releasing only digitally, but we haven’t given up on vinyl. We’re getting some fantastic reactions to our output, from around the world. Japanese labels seem to be popular! And we’re always seeking new artists, so if you like my label, please send me the demo anytime to: staff@plustokyo.com.”
At the moment there’s a big debate and likely transition between DJs playing off vinyl, and others using purely downloaded digital music. Do DJs really need to continue to use vinyl? Or can they instead construct entire sets out of stuff they’ve downloaded off the Internet?
“Hmm,” Nishimura muses. “This is the biggest discussion in the scene right now. In my opinion, using vinyl looks cool. Around 13 years ago, I went to Ministry Of Sound in London. It was a winter I remember. That night, the line-up was Derrick May, Darren Emerson, Claude Young… I was in a long queue, when suddenly Derrick May came in with his assistant, a guy who was dragging a heavy record bag. Everyone gaped at The Star DJ. It was really cool, and to be honest with you, I dreamed to be like him – so, DJs who are not dragging along a record bag are like skateboarders without a skateboard.”
© Terry Rance @ Zebra DMC 2009
