Introducing SACHIHO - Diversity in Dubstep #10

Introducing SACHIHO

Diversity in Dubstep #10

It’s hard to believe it’s been almost six months since the last Diversity in Dubstep feature here on FKOF – but, around International Women’s Day 2022, I figured it was time to get the latest interview and mix published. It’s awesome to be able to highlight another new (to me, and maybe to some of you) DJ in 140, so read on to meet and learn more about Japan’s SACHIHO!

[As an aside, other than just general life getting in the way, there’ve been a few interviews/ mixes rescheduled (or simply disappearing!) since H’s #9 but I’m always on the hunt if you (or anyone you know) should be involved – find contact details in the footer below!]

Hi! How’s it going?  Hey Wil!  I’m good, thanks. After my set on Kami-O‘s internet public radio show, I’m very happy to be able to deliver this interview and DJ mix on the FKOF platform. It’s great to be able to communicate about my precious music in different places! 

What was your route into music (of any genre), and what was your journey into electronic music? When I was a teenager in the early 90s, I was interested in artists like NIGHTMARES ON WAX, The ORB, and LFO released on WARP, and house music labels such as TRIBAL America and AZULI. I was influenced by the club music scene and culture (at that time, Shibaura GOLD in Tokyo etc.) – that weren’t bound by race, gender, or social status. I started DJing because I wanted to participate.

From then to now, I’ve been DJing at my own pace. Even if the music genre I delve into changes, it’s still important for me to come into contact with communication and culture through music.

How did you discover 140bpm/ dubstep? Can you remember the first dubstep tune you ever heard? I’ve been digging into deep house and minimal techno (across various labels like planet-e, Mountain People, Rakid, yore, etc.) around 120bpm for over a decade. Through information about events, parties, record shops, and the internet, I started looking for deep bass intensities and grooves and I came across new sounds and grooves!

I came across labels like Black Box and Box Clever and I was addicted to artists like N-Type, DJ MADD, Headhunter, Seven, LAS, and TMSV.

In particular, the deep bass and disturbing reverberation of Killawatt & Thelem’s A Point Of No Return was shocking!

What’s your favourite club (in Tokyo or Okinawa) for dubstep, and what makes a good club for you? I like contact TOKYO, which reminds me of the original experience that triggered me to start DJing! There are various cultures in Tokyo, Okinawa, and Japan more broadly, though, so I may not be able to narrow down to one!

I think a good club or event is a place where you can agree with one concept or theme and not only that, but also accept the enjoyment of each person who gathers.

Freely dance, talk, and play… I think it’s important for each person to respect each other and to have a place and culture that they can freely imagine.

Who are your favourite Japanese producers or DJs we should all know about? 1TA, CITY1 , DADDY VEDA, dubthing, DJ END, HELKTRAM and NullDaSensei!

What’s the community like across (any forms of electronic music genres) from a diversity point of view? I think that a community through all kinds of electronic music, regardless of nationality, social status, race, gender, or age, is an important culture that promotes people’s senses and growth.

How has diversity in your community changed (if it has?) over the last 18mo or so? Due to the influence of the pandemic, events held at clubs and DJ bars are sometimes difficult, and there are restrictions on the activities of artists and DJs. However, there are cases where we are developing new places of activity such as online connections and distribution.

Are there any artists, venues or others making an effort to promote diversity within the scene? Bristol’s fictitious zip code, BS0, is a diverse crew. There are events and radio programs that connect the music and culture of Tokyo and Bristol. Since BS0 is made up of members with various musical roots, it is possible to explode the culture from various angles.

It has invited Bristol artists as guests and has continued to take on experimental challenges at the extra event “Bs0 extra”. I recently learned that a new project is starting on SNS, and I would like to support the attitude that it is always advanced.

Radio programs include regular programs of artists and DJs from all over the country, artists and DJs who are the main members of BS0, and Japanese artists living in Germany.

You can experience the roots and culture from various perspectives of bass music and electronic music, and there are many wonderful discoveries and encounters!

How did you get into DJing, and what led you to focusing on vinyl-only sets? When I was a college student, the first public DJ was at a school festival. At that time, vinyl was the mainstream, and CDJs were gradually becoming popular.

Vinyl is heavy to carry, and I thought that CDs and data would increase the speed of digging my music archives and songs, but it didn’t work out well…

I think each person is different, but the charm of vinyl is that you can enjoy the background of artists and labels, the feeling that each song is treated carefully, the jacket design, and the stamp style like FKOF. It suits me best.

What’s your favourite turntable/ mixer setup? DJ mixers like rotary faders because they have roots in house music, but you can enjoy them on the spot, including vertical faders. My home mixer is the Vestax PMC26 rotary fader mixer. The turntable is Technics SL-1200MK3. Both have been my favorites for many years.

What’s your process for putting a (live or pre-recorded) set together? How do your ‘live’ DJ sets go, pre-planned or go with the flow or? The live recording set process I’ve been working on lately focuses on the songs I want to play, old and new. Recording with one shot will make you feel lively!

It may be completed in one recording, or it may be re-recorded three to four times.

My recording method is to record with GarageBand on iPhone via the YAMAHA mixing console that is directly connected to the DJ mixer. No special equipment is used and it is easy to handle.

I record a 30-minute or 60-minute DJ set in one shot, and since the recorded sound source is unedited, I interpret it as a live mix.

The name “LIVE VINYL MIX” was given to the DJ MIX I provided when I was welcomed by KAMI-O as a guest on his show earlier this year, and he named it “LIVE”. I thought it was a good idea!

Talk us through the mix you’ve put together. It’s got a bunch of wicked material inside! Focusing on oriental dubstep, I made it aiming for the swell and groove feeling of the bass.

Sinking bass and exploding hi-hat sounds, powerful voice sampling, WABI-SABI by woodwind and percussion instrument sampling, dissonance, exotic melody, grainy metal and dissonance, bass sound and tranquility.

I chose vinyl that I would like to buzz and dance with the image of a flow that allows me to go back and forth between mystery and wickedness.

I think all the songs are dope and cool!

What’s your ‘usual’ (ignoring the pandemic/ lockdown) day like; how does everything fit together? I am busy with career work and housework from morning ’til night on weekdays. My double-income husband, who lives with me, is supportive of both housework and my musical activities. We enjoy and balance each music and hobbies at the weekends.

The work of the web marketing career I’ve been involved with for many years is exciting. Changes in the working environment due to the recent job change put a great deal of pressure on work tasks and situations.

So on weekends, I spend my time with my personal music activities, hobbies, art, spending time with my family and friends, and sometimes spending time alone to relax.

Who are your heroes (musical or otherwise)? The artists and labels I chose for my DJ mix are all heroes. My journey will continue, so the number of heroes will continue to increase!

Outside of music, what makes you happy? Casual conversations and daily life with family and friends.

If you could give yourself some tips or advice about getting into music/ ‘the industry’ looking back since you started, what would you tell yourself? Don’t forget your excitement and keep your curiosity going.

Where can people find you online – and any final words or shout outs? My online platforms are summarised on Linktree. You can find me most active on IG.

My DJ MIX “Deep bass journey” – exploring dope bass music – is the centre of my current activities. I want to cherish connections and communication with artists, producers, and DJs both in Japan and overseas.

I am also very grateful to FKOF for this opportunity to distribute the interview and DJ mix! With respect and gratitude to all who supported me. Thank you!

Click to DOWNLOAD (56MB)

Track list:

  1. BENGAL SOUND – 2 WORLDS [White Peach]
  4. Hebbe – UP TOWN DUB [DUPLOC]
  9. HELKTRAM – Iron Box [TRUSIK]
  10. 3WA – Old Mount [FOUNDATION AUDIO]
  11. ZYGOS – Sick as a Dog [FOUNDATION AUDIO]
  12. SEPIA – SHADOWS [White Peach]
  13. Goth-Trad – Sinker [DEEP MEDi MUSIK]
  14. E S P – Limits [For The Heads Records] 
  15. SLEEPER – Seagulls [chestplate]
  16. SULLY – Bronze [BLACK ACRE]
  17. CITY1 – Funza [DNO]
  18. TRUTH – Istanbul [Deep Dark & Dangerous]
  20. SUBREACHERS – Captain Future [FKOF Records]

Share your thoughts on our chat with SACHIHO via the footer below or get in touch with FKOF via email or Twitter.