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Satoshi Tomiie on Beatport

This month’s installment of the Satoshi Tomiie Podcast comes from his live set at Viña Del Mar during his most recent South American tour. Satoshi delivered an unforgettable journey on the beach in Chile that kept partygoers wanting more during a seamless three hour set. His eclectic selection of underground tracks mesmerized the crowd and closing off the set by paying homage to the great Frankie Knuckles with ‘Tears’ left the crowd in a state of pure bliss.

If you loved the podcast, then you’re in luck because Satoshi’s travels take him to Baum in Colombia, Supperclub in Dubai and The Warehouse in Beirut in the upcoming week.

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satoshi tomiie

Satoshi Tomiie Podcast #08 Live Set From Viña Del Mar, Chile

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This month’s installment of the Satoshi Tomiie Podcast comes from his live set at Viña Del Mar during his most recent South American tour. Satoshi delivered an unforgettable journey on the beach in Chile that kept partygoers wanting more during a seamless three hour set. His eclectic selection of underground tracks mesmerized the crowd and closing off the set by paying homage to the great Frankie Knuckles with ‘Tears’ left the crowd in a state of pure bliss.

If you loved the podcast, then you’re in luck because Satoshi’s travels take him to Baum in Colombia, Supperclub in Dubai and The Warehouse in Beirut in the upcoming week.

Read 
satoshi tomiie

Satoshi Tomiie Podcast #08 Live Set From Viña Del Mar, Chile

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podcast-8

This month’s installment of the Satoshi Tomiie Podcast comes from his live set at Viña Del Mar during his most recent South American tour. Satoshi delivered an unforgettable journey on the beach in Chile that kept partygoers wanting more during a seamless three hour set. His eclectic selection of underground tracks mesmerized the crowd and closing off the set by paying homage to the great Frankie Knuckles with ‘Tears’ left the crowd in a state of pure bliss.

If you loved the podcast, then you’re in luck because Satoshi’s travels take him to Baum in Colombia, Supperclub in Dubai and The Warehouse in Beirut in the upcoming week.

Read 

Satoshi Tomiie is back with a vengeance in 2014

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The Japanese born, New York based DJ has plenty for fans of his emotive house music to get excited about, including a new podcast. The sixth in his self-released series is available on his soundcloud and was recorded live at his gig at a PopUp Party at AIR in Tokyo. It’s deep and moody and is a real treat that showcases his usual classy selections.

Satoshi also just had a new remix out on Bedrock Records for Stelios Vassiloudis in January, and his special dj set had been featured on the label boss, John Digweed’s regular and famous radio show, Transitions.

Throughout the next month or so Satoshi is also on tour around Italy. It kicks off on February 21st at Celebrita in Trecate and takes in a further seven dates around the European country including Milan, Bologna and Napoli right up to the 8th March. Full details are below.

Finally in the news at the moment – a new EP is soon to land on Satoshi’s much loved SAW Recordings from Satoeski. Satoeski is a collaboration between Satoshi and New York based DJ and producer Joeski and the single is out in February. There is more happening in ST’s world all the time so for more info keep your eyes on his Facebook.

2014-01-31 DRAGON DEL SUR Lima
2014-02-21 CELEBRITA Trecate
2014-02-22 VIBE Calcinaia
2014-02-23 CIRCUS Brescia
2014-02-25 11 CLUBROOM Milano
2014-02-27 SET Monticchio
2014-02-28 CASSERO Bologna
2014-03-02 NOLITA Alessandria
2014-03-08 ARENILE RELOAD Napoli

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Satoshi in Fall

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After a busy summer of gigs in Europe, USA, Mexico and at festivals like Tomorrowland, house music hero Satoshi Tomiie is not resting in fall. His busy DJ diary takes him to Italy before heading home to Japan for a number of gigs, then to Honolulu, back to Japan and finishing up in Bali come the end of November.

 

 

2013-10-31   PUBBLIC CLUB – Corato, IT

2013-11-01   ICON – Mantova, IT

2013-11-09   MAGO – Nagoya, JP

2013-11-15   REPUBLIK – Honolulu, US

2013-11-22   VISION – Tokyo, JP

2013-11-23   TROOP CAFE – Kobe, JP

2013-11-29   THE TOWNHOUSE – Bali

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Podcast #04 and upcoming shows

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While New Yorkers bade farewell to another glorious summer, Satoshi Tomiie took over the decks at Canopy Bar for a recent Autobrennt showcase. As the sun began setting over Brooklyn and the Manhattan skyline shimmered in the distance, Satoshi kicked off a stunning set–a divine selection of rooftop vibes that kept the crowds grooving until the very last minute. Over the course of three hours, Satoshi seamlessly weaved through the likes of Spleen Underground Music, Tim Paris, Aaaron, TV Baby/Maetrik, Simon Garcia, and various others before closing with Chateau Flight’s electric “Kounka”–a fitting track to close a night of uninhibited revelry. Fortunately, Satoshi was able to record his gem of a mix for those who were unable to attend the intimate gathering over Labor Day weekend. Even better, fans who live in Los Angeles, Las Vegas or Miami can experience the magic at three of Satoshi’s upcoming shows throughout the month of October.

Oct – 4 Incognito LA

Oct – 5 Artisan Las Vegas

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Satoshi Tomiie Podcast #003

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Satoshi live from Tomorrowland 

 

In the middle of a busy summer finishing his next artist album and playing plenty of club and festival dates around Europe, Satoshi recently played Tomorrowland in Belgium. He lined up in the Ketaloco Arena with people like Solomun, Guti, dOP and TiNi and laid down a typically tight set that touches on plenty of house styles.

 

Here is just less than 90 minutes of the set recorded live on the night for you to enjoy. In true Satoshi style it starts deep and groovy and subtly shifts through the gears to touch on classic sounding vocal stuff, more hurried tech and plenty of party-starting funk in the latter stages. Hit play, then, and sink comfortably into the grooves…

 

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Podcast 02 – Cordoba Argentina at Lokitas

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Earlier this year, prolific DJ/producer Satoshi Tomiie launched his new monthly podcast series with a fantastic inaugural mix recorded live in Tokyo. This month, Mr. Tomiie returns with yet another noteworthy set–this time mixed live in Argentina.
According to the producer, the city of Cordoba has been one of his favorite places to perform throughout his career. The first time he played there, his 2 hour intimate set at Lokitas wound up lasting a whopping 11 hours–can you blame him for liking it so much? If you ask us, that’s a good enough reason to go back–and he did.
Satoshi’s recent Argentinian tour would not be complete without another trip to Cordoba. This time, he recorded his set for fans everywhere to enjoy. Anyone who knows Satoshi’s work knows it’s always flawless. As expected, the latest installment in his podcast series is equally perfect, but one can also sense the immense passion and dedication put behind it for the Cordoba crowd.

 

1. Marasco Hold It Like That (Back To The Roots Mix) Siesta
2. Kate Simko Lost In London Get Physical
3. Robot Needs Oil Mood Swings (Simon Garcia Remix) Atreform
4. Nacho Marco Ghosts Ovum Recordings
5. Unknown
6. DJ Koze Burn With Me (Original Mix) Pampa Records
7. Rework Touch Vision Quest
8. Apollonia VISA AMERICAIN Apollonia
9. H Foundation & David Durango Canvas Supplement Facts
10. D’Julz DA MADNESS-THE MARTINEZ BROTHERS feat PHIL WEEKS REMIX Bass Culture

 

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Satoshi Tomiie is launching new Podcast series

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Though a lot has changed since Satoshi Tomiie launched his career in the late 80s, one thing certainly hasn’t – Satoshi has never lost his spark. More than 2 decades later, the house legend is still touring, releasing albums, handling remixes, and more. Never stagnant, Satoshi is constantly evolving in his noteworthy career.
This month, he unveils a new monthly podcast series with a brand new mix recorded live in Tokyo.
Featuring original tracks and/or remixes by Solomun, Catz N Dogz & Kink, Marc Romboy, Franck Roger, The Martinez Brothers, Caribou, Satoshi’s brand new acid fueled remix of Coyu and many more, the mix offers a promising and exciting glimpse of what to expect from the podcast series in the future.

1. The Organ Grinder Steam Roller Ft Chesus 4Lux
2. Catz ‘n Dogz & KiNK Bad Love dirtybird
3. Solomun Sisi (Original Mix) KNM
4. Davide Squillace & Guti The Other Side Of Hustler This And That Lab
5. Mike Dunn meets Victor Simonelli & Luis Radio Nothing stays the same (Marc Romboy’s Devilfish Remix) Systematic Recordings
6. Kate Simko Go On Then (Franck Roger Dub) Leftroom Records
7. Basti Grub Melancholic
8. Coyu Aruba – Satoshi Tomiie Stripped Dub Suara
9. Butch Pompino Desolat
10. Burnski LOST IN THE ZOO (THE MARTINEZ BROTHERS’ BRONX ZOO MIX) Saved
11. Jori Hulkkonen, Tiga Trust Your Body (Danny Daze Dub) Turbo Recordings
12. Mathias Kaden Demence Desolat
13. Virgo Four It’s A Crime (Caribou Mix)

 

 

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Italian Radio DJ set

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I’m writing this from my hotel room in Rome, the night after my first ever Popup party. For anyone who doesn’t know, Popup is my new party concept where I play in small intimate rooms as a way to showcase my new sounds (I’ve been secretly building up a bank of new grooves for the past couple of years).

Last night’s Popup took place in a great little club called Circolo Degli Illuminati, and it was a really amazing party. About 400 people came down to dance with me, and I played all night for about five and half hours, taking them on a journey through deep, deep house, new melodies and rolling grooves.

I kept the pace slow, and played pretty much the whole night at 120 BPM which created a special kind of vibe. People seemed to really have fun! For a Tuesday night, the party was much crazier than I anticipated, and overall it was the PERFECT launch for Popup! I can’t wait for the next party.

I’m currently on a two week tour of Italy at the moment, and I’m really enjoying myself so I thought I’d give my fans a present! I recently recorded a one hour DJ set for an Italian radio station, and they broadcast it last week. Here is the set, so you can listen for yourself! The set includes one of my new tracks, Momento Magico, which will come out on SAW in the next few months.

Two more gigs to go on this Italy tour:

Friday April 13 2012
KING CLUB – Via Provinciale Pisana, 639/a – Livorno (LI) – Italy

Saturday April 14 2012
BLACK BUDDA – Via XII Ottobre, 182/Rosso – Genova (GE) – Italy

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My new sound: a special podcast

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For the last few years I have been admittedly very quiet on the production front – I’ve only released a handful of remixes, and I’ve had no new original material out in a couple of years.

That’s because I decided to take a step back from production for a while and work on music just for myself. With a new dream studio in my New York City apartment finally built, and with no deadlines pressing me, my imagination has been running wild.

I’ve been working night and day on new music for the past few months, secretly building up a bank of house grooves, and in some way, these tracks represent a new direction for me: a new sound.

For those of you who will remember my earliest work, like my debut track ‘Tears’, this new direction won’t seem that ‘new’. But for those of you who know me from my ‘Love In Traffic’ days or beyond, this music will seem quite different to the tracks I made in that era.

How would I describe it? I would say it is a reinterpretation of my root music with a modern twist. I have gone back to my roots on the production side and have only been using a couple of drum machines and a few synths to build most of the tracks. It has been fun to work like that!

Overall, I wanted to play with the melodies and build suspense and energy through deep musical means.

So just for my fans, here is a live set that features some of my new tracks. This set was recorded live at Moroko Loco, a super underground party at a secret venue in Rabbat. It was a great party. The club was very intimate and personal, and I felt a lot of passion from the people. They really seemed to be there for the music. I hope you like the set.

PS Don’t ask for a tracklist! For now, I want my new tracks to remain in the dark, illuminated occasionally only by disco lights.

 

 

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Satoshi Tomiie: Autobrennt Podcast 038

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I was recently asked by the excellent guys over at Autobrennt to mix a podcast for them. Autobrennt 038 is actually a live recording from a DJ set that I played recently at Tokyo’s legendary Womb club.

That night it was my birthday celebration, and I played from opening until closing, so six hours in total. What you hear on the podcast is actually a two hour extraction from my favourite part of the set, when I took things from super deep into something next level. So the mix continues after the podcast ends but this is my favourite two hours.

Womb is not a small club, neither is it super big. The main room holds about 600 to 700 people, and it has an amazing Phazon soundsystem built by Steve Dash.

The people at Womb always know what to expect, and musically they are very educated. I can do whatever I want in there, and musically wherever I want to take them they always follow. That’s a very rare dancefloor situation, so it felt really special that night.

I hope you like the mix.

Download the mix from Autobrennt.

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Podcast: Satoshi Tomiie live @ Los Angeles’ Monday Social

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There is a dark, dream-like undercurrent on Satoshi Tomiie’s latest podcast, which is a live recording of his DJ set at Los Angeles’ infamous Monday Social club night.

The Japanese New Yorker DJed at LA’s longest running weekly last Monday, and the one and half hour recording from that night is enlightening for one important reason: Tomiie’s music selection goes far beyond current club music trends.

Whilst a lot of house and techno spinners tend to be over-influenced by what is going on around them – right now a lot of house DJs seem to be sucking on the teat of Visionquest, Jamie Jones, et al (and that’s not necessarily a bad thing) – Satoshi’s mix exists somewhere else entirely. Because of that, his set is refreshing, unique and absorbing.

The tracklist is a mystery for now, so what can we say about it? The groove sits somewhere in between drum-filled, Chicago-styled house, trippy, reductionist techno, and druggy, heads down percussion numbers.

Moments of sleaze, like jazzy saxophones and loose piano keys, collide and contrast beautifully with sections of techno-laced synths and minimal house rhythms.

There are even moments of sweeping, emotional female vocals, similar to the ethereal and haunting voices progressive house used to employ, except here they run over rolling tech house grooves and dirty basement funk instead.

There are also nods to the classic house era, with Tomiie working in recognisable accapellas over the top of futuristic electronic house thrillers, a reference to the early days of dance music, which Satoshi Tomiie was actually a part of (his first release.

All in all, it’s a energizing ride. Who said Monday nights were boring?

Listen / download Satoshi Tomiie’s mix from Monday Social here.

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Satoshi Tomiie Podcast #08 Live Set From Viña Del Mar, Chile

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This month’s installment of the Satoshi Tomiie Podcast comes from his live set at Viña Del Mar during his most recent South American tour. Satoshi delivered an unforgettable journey on the beach in Chile that kept partygoers wanting more during a seamless three hour set. His eclectic selection of underground tracks mesmerized the crowd and closing off the set by paying homage to the great Frankie Knuckles with ‘Tears’ left the crowd in a state of pure bliss.

If you loved the podcast, then you’re in luck because Satoshi’s travels take him to Baum in Colombia, Supperclub in Dubai and The Warehouse in Beirut in the upcoming week.

Read 
satoshi tomiie

Satoshi Tomiie Podcast #08 Live Set From Viña Del Mar, Chile

close

podcast-8

This month’s installment of the Satoshi Tomiie Podcast comes from his live set at Viña Del Mar during his most recent South American tour. Satoshi delivered an unforgettable journey on the beach in Chile that kept partygoers wanting more during a seamless three hour set. His eclectic selection of underground tracks mesmerized the crowd and closing off the set by paying homage to the great Frankie Knuckles with ‘Tears’ left the crowd in a state of pure bliss.

If you loved the podcast, then you’re in luck because Satoshi’s travels take him to Baum in Colombia, Supperclub in Dubai and The Warehouse in Beirut in the upcoming week.

Read 

Satoshi Tomiie is back with a vengeance in 2014

close

The Japanese born, New York based DJ has plenty for fans of his emotive house music to get excited about, including a new podcast. The sixth in his self-released series is available on his soundcloud and was recorded live at his gig at a PopUp Party at AIR in Tokyo. It’s deep and moody and is a real treat that showcases his usual classy selections.

Satoshi also just had a new remix out on Bedrock Records for Stelios Vassiloudis in January, and his special dj set had been featured on the label boss, John Digweed’s regular and famous radio show, Transitions.

Throughout the next month or so Satoshi is also on tour around Italy. It kicks off on February 21st at Celebrita in Trecate and takes in a further seven dates around the European country including Milan, Bologna and Napoli right up to the 8th March. Full details are below.

Finally in the news at the moment – a new EP is soon to land on Satoshi’s much loved SAW Recordings from Satoeski. Satoeski is a collaboration between Satoshi and New York based DJ and producer Joeski and the single is out in February. There is more happening in ST’s world all the time so for more info keep your eyes on his Facebook.

2014-01-31 DRAGON DEL SUR Lima
2014-02-21 CELEBRITA Trecate
2014-02-22 VIBE Calcinaia
2014-02-23 CIRCUS Brescia
2014-02-25 11 CLUBROOM Milano
2014-02-27 SET Monticchio
2014-02-28 CASSERO Bologna
2014-03-02 NOLITA Alessandria
2014-03-08 ARENILE RELOAD Napoli

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Closing 2013 and looking forward to 2014

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2013 has been another great year for Satoshi Tomiie. He has toured the globe playing places like Pacha Argentina, Tomorrowland in Belgium, Egg in London and many dates across the States and Japan, always bring with him his unique sense of groove and classically informed modern house sets.

 

Of course the man behind classic track ‘Tears’ with Frankie Knuckles also runs SAW Recordings, which this year has continued to push forward with exciting new sounds and artists including the likes of Nacho Marco and Echomen.

 

Satoshi has also been working hard in a new studio in his current home of New York, so expect plenty of new music in the New Year. Before that, though, he has three more events to headline in the form of teachers in Italy on Christmas Day, Hafen 2 in Frankfurt, Germany on December 27th and closing the year at Guendalina Tour at Planet Discoteca on NYE.

 

Once again he would like to thank everyone for their support in 2013 and reports he is looking forward to doing even more in 2014!

 

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Satoshi Tomiie Podcast #05 – Fall Collection

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He might currently be on a tour of Japan, but that hasn’t stopped Satoshi Tomiie putting together a fantastic new mix.  It’s a little different than your average because it starts off at a lazy 115BPM before slowly stepping up through the gears in skillful style.   Along the way it includes a first play of a new forthcoming track on Satoshi’s SAW imprint in the form of Nacho Marco’s ‘Flying’ as well as offering up a brand new track from the house legend’s own new forthcoming album.  It remains unnamed and is mixed in the heart of the mix, which is a truly magical and melodic selection with plenty of beautiful keys lapping next to inviting house drums.  Perfect as a warm up for the weekend, you can hear it here

1 The Draughtsman Frame I (An English Garden) Marketing Music
2 Stimming The Origin (Original Mix) Diynamic
3 Frank & Tony Orchid Trait Scissor And Thread
4 Anthony Middleton Till the End of… (Original Mix) Get Physical
5 Satoshi Tomiie Untitled
6 Volta Cab Caribbean Undercover (Mark E Remix) Seven Music
7 Daniel Bortz Cosy Suol
8 Fabricio Pecanha Japanese Whispers (Sasse Remix) Moodmusic
9 Nacho Marco Flying SAW.RECORDINGS
10 Ark & Pit Spector Mega Salad Circus Company

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Satoshi in Fall

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After a busy summer of gigs in Europe, USA, Mexico and at festivals like Tomorrowland, house music hero Satoshi Tomiie is not resting in fall. His busy DJ diary takes him to Italy before heading home to Japan for a number of gigs, then to Honolulu, back to Japan and finishing up in Bali come the end of November.

 

 

2013-10-31   PUBBLIC CLUB – Corato, IT

2013-11-01   ICON – Mantova, IT

2013-11-09   MAGO – Nagoya, JP

2013-11-15   REPUBLIK – Honolulu, US

2013-11-22   VISION – Tokyo, JP

2013-11-23   TROOP CAFE – Kobe, JP

2013-11-29   THE TOWNHOUSE – Bali

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Podcast #04 and upcoming shows

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While New Yorkers bade farewell to another glorious summer, Satoshi Tomiie took over the decks at Canopy Bar for a recent Autobrennt showcase. As the sun began setting over Brooklyn and the Manhattan skyline shimmered in the distance, Satoshi kicked off a stunning set–a divine selection of rooftop vibes that kept the crowds grooving until the very last minute. Over the course of three hours, Satoshi seamlessly weaved through the likes of Spleen Underground Music, Tim Paris, Aaaron, TV Baby/Maetrik, Simon Garcia, and various others before closing with Chateau Flight’s electric “Kounka”–a fitting track to close a night of uninhibited revelry. Fortunately, Satoshi was able to record his gem of a mix for those who were unable to attend the intimate gathering over Labor Day weekend. Even better, fans who live in Los Angeles, Las Vegas or Miami can experience the magic at three of Satoshi’s upcoming shows throughout the month of October.

Oct – 4 Incognito LA

Oct – 5 Artisan Las Vegas

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Satoshi in Mexico

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This month he heads to Mexico for three dates that will no doubt find him continuing to road test the new material, which is to make up his next artist album.

The tour starts on September 6th at Hardpop in Juarex before heading to Mexico City and Fever the night after, then the following daytime it’s to Ajusco, where Satoshi will play Open Air KM 12. For a taste of what to expect, check out his latest podcast..

 

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Aug 31 Satoshi at The Canopy Bar in Brooklyn

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After lighting up a number of clubs around Europe on his most recent tour, Satoshi Tomiie is heading back to his adopted home.

On Saturday he plays for Autobrennt at The Canopy Bar in Brooklyn along with Mateo. The party starts at 3pm and runs until 10pm and is a great chance to catch the housemaster. It’s been a busy summer for Satoshi what with touring again and working on his long player, but you can be rest assured he will lay down a set that is befitting of his place as a global house icon.

Tickets are $15 from RA

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Summer Favorite Tunes

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As excitement continues to build ahead of the release of his next full length album, house hero Satoshi Tomiie allows us a rare peek into his record bag. Having produced so many bona fide house classics in his time, it’s a real treat that will also serve as some sort of indicator of what to expect from one of his current DJ sets around the world It’s a decidedly house-y list of records that takes in plenty of UK and bass driven artists such as Midland and his hit Trace on Aus Music, a disco-fried remix of Luke Solomun by Mark E, SAW.RECORDINGS’ new release “Don’t Hold Back’ by Echomen and more psych-disco thanks to the remix of Matias Aguayo by Prins Thomas. Some techier house from the likes of Frenchman and Real Tone boss Franck Roger is also included, as is an essential Larry Heard remix of Wallflower’s Say You Won’t Ever. It’s a tasty list for sure, and you can get stuck into it in all its glory over at Beatport.

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Satoshi Tomiie at Tomorrowland

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Satoshi Tomiie is to bust back into the house loving public’s conscious later this year with a full-length album. It will be a product of his newly designed studio and promises to balance charming musicality with inviting grooves, so keep your eyes peeled. In the meantime, Satoshi is playing a couple of dates this weekend, the first of which is on July 27th at Tomorrowland playing alongside Solomun, Guti, Tini, dOP etc. at Ketaloco Arena, the second is a day later at Cavo Paradiso in Mykonos. Anyone in attendance will be treated to a house masterclass from one of the genre’s most enduring talents.

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Podcast 02 – Cordoba Argentina at Lokitas

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Earlier this year, prolific DJ/producer Satoshi Tomiie launched his new monthly podcast series with a fantastic inaugural mix recorded live in Tokyo. This month, Mr. Tomiie returns with yet another noteworthy set–this time mixed live in Argentina.
According to the producer, the city of Cordoba has been one of his favorite places to perform throughout his career. The first time he played there, his 2 hour intimate set at Lokitas wound up lasting a whopping 11 hours–can you blame him for liking it so much? If you ask us, that’s a good enough reason to go back–and he did.
Satoshi’s recent Argentinian tour would not be complete without another trip to Cordoba. This time, he recorded his set for fans everywhere to enjoy. Anyone who knows Satoshi’s work knows it’s always flawless. As expected, the latest installment in his podcast series is equally perfect, but one can also sense the immense passion and dedication put behind it for the Cordoba crowd.

 

1. Marasco Hold It Like That (Back To The Roots Mix) Siesta
2. Kate Simko Lost In London Get Physical
3. Robot Needs Oil Mood Swings (Simon Garcia Remix) Atreform
4. Nacho Marco Ghosts Ovum Recordings
5. Unknown
6. DJ Koze Burn With Me (Original Mix) Pampa Records
7. Rework Touch Vision Quest
8. Apollonia VISA AMERICAIN Apollonia
9. H Foundation & David Durango Canvas Supplement Facts
10. D’Julz DA MADNESS-THE MARTINEZ BROTHERS feat PHIL WEEKS REMIX Bass Culture

 

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Satoshi Tomiie is launching new Podcast series

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Though a lot has changed since Satoshi Tomiie launched his career in the late 80s, one thing certainly hasn’t – Satoshi has never lost his spark. More than 2 decades later, the house legend is still touring, releasing albums, handling remixes, and more. Never stagnant, Satoshi is constantly evolving in his noteworthy career.
This month, he unveils a new monthly podcast series with a brand new mix recorded live in Tokyo.
Featuring original tracks and/or remixes by Solomun, Catz N Dogz & Kink, Marc Romboy, Franck Roger, The Martinez Brothers, Caribou, Satoshi’s brand new acid fueled remix of Coyu and many more, the mix offers a promising and exciting glimpse of what to expect from the podcast series in the future.

1. The Organ Grinder Steam Roller Ft Chesus 4Lux
2. Catz ‘n Dogz & KiNK Bad Love dirtybird
3. Solomun Sisi (Original Mix) KNM
4. Davide Squillace & Guti The Other Side Of Hustler This And That Lab
5. Mike Dunn meets Victor Simonelli & Luis Radio Nothing stays the same (Marc Romboy’s Devilfish Remix) Systematic Recordings
6. Kate Simko Go On Then (Franck Roger Dub) Leftroom Records
7. Basti Grub Melancholic
8. Coyu Aruba – Satoshi Tomiie Stripped Dub Suara
9. Butch Pompino Desolat
10. Burnski LOST IN THE ZOO (THE MARTINEZ BROTHERS’ BRONX ZOO MIX) Saved
11. Jori Hulkkonen, Tiga Trust Your Body (Danny Daze Dub) Turbo Recordings
12. Mathias Kaden Demence Desolat
13. Virgo Four It’s A Crime (Caribou Mix)

 

 

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Popup Tour Italy, Oct/Nov 2012

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Japan’s Satoshi Tomiie is set to play in a lot of small rooms in Italy over the next few weeks. The boss of SAW.RECORDINGS is about to embark on his first official Popup Tour following a couple of test Popup gigs in Tokyo and Rome earlier this year (check out the video from Rome’s Popup here).

Popup is Satoshi’s new party concept and it offers a unique dancing experience for clubbers. At the parties, Satoshi plays a special type of DJ set which contains many of his own productions that were designed specifically to be played only in small rooms.

Satoshi’s Popup tracks are a blend of bare bones house and classic analogue goodness, with beats as prominent as melodies. The raw grooves and simplistic musical elements are the perfect soundtrack for tearing up small underground dancefloors. Rhythms like his recent cuts ‘Momento Magico’ and ‘Backside Wave’ are good examples of the deep and groovy Popup sound, as is the acid trip ‘Straight Up’, and Satoshi’s electronic piano hit ‘Prism Vision’.

Satoshi’s first official Popup Tour begins October 20 2012, and will see the Japanese producer and DJ visit some of the best small dancefloors that Italy has to offer, including cute little clubs in Torino, Bologna, and Rome.

Satoshi Tomiie Popup Tour Dates

Italy Oct/Nov 2012

20 Oct
GIULIANOVA (TE)
NOVAVITA

26 Oct
AREZZO (AR)
KLANG CLUB

28 Oct (from 4AM)
MESTRE (VE)
TAG

2 Nov
VICENZA (VI)
T GALLERY

3 Nov
BRESCIA (BS)
VINILE 45

4 Nov
TORINO (TO)
CHALET CLUB – PARCO DEL VALENTINO

6 Nov
ROMA
CIRCOLO DEGLI ILLUMINATI

8 Nov
Prato (FI)
CLUB 999

9 Nov
BOLOGNA (BO)
WE LOVE INTERNATIONAL @ CASSERO

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Satoshi Tomiie ‘Prism Vision’ [Melisma]

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Satoshi Tomiie continues his production resurgence with a new single on the currently hot label Melisma, run by Cadenza artists Dani Casarano and Felipe Valenzuela.

The Japanese New York-based producer and DJ broke a two year music production silence in April with a stripped back devastating acid house groove called ‘Straight Up’, released on Marc Romboy’s Systematic Recordings. The track has become one of Satoshi’s signature tunes at his small and intimate Popup parties which have so far taken place in secret locations in Rome and Tokyo.

Tomiie’s upcoming Melisma single is called Prism Vision, and once again the cut shows his flair for creating subtle, intelligent, and good ‘n simple house music. The classic feel of his recent tracks comes down to Satoshi’s current studio set up, which is based around a combination of modern technology like soft synths, and original analogue gear like the original Roland TB303, and some virtual classic Roland drum machines and synths. Not to mention the fact that Satoshi has been making house music since the late 1980s and his debut single ‘Tears’ was co-produced with the “godfather of house”, Frankie Knuckles.

‘Prism Vision’ works its magic from multiple layers. Whilst the beats are classic Chicago with occasional and powerful modern twists, the melody is constructed from a smattering of retro synthesizers and some key piano chords. Satoshi Tomiie is a classical pianist and has played the piano since he was a child – with such an innate understanding of music and hand-created melodies, his tracks are often driven by such keyboard moments.

For the B-side remix, Melisma label owners Dani Casarano and Felipe Valenzuela provided a more driving peak time groove, that makes big use of Satoshi’s piano jamming. With a wobbly driving bassline, the remix is a piano house bomb and the perfect track for the summer.

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Interview: Satoshi Tomiie’s new track ‘Straight Up’

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Straight Up is the first original production that we’ve had from you in quite some time. Where have you been?

I’ve been secretly working on new music for the past couple of years. Now I’m finally ready to unleash all my new music! Straight Up is one of the tunes that I was working on. In many ways, the track is a revisit of my roots as the set up that I used to make it is a virtual set up of my original bedroom set up that I had in Tokyo, when I first began making music many years ago.

It’s a combination of modern technology like soft synths, and the original analogue gear. I used the original Roland TB303, and some virtual classic Roland drum machines and synths.

What was the set up?

I used a Roland TB303, some classic drum machines, and a couple of synths. That’s it really.

The track does sound very classic house sound.

Yes, I guess I would describe it as early stage house music, but with a modern twist. It reminds me of the original Chicago house that labels like Trax and DJ International put out. It’s like some of DJ Pierre’s early acid stuff, but I combined it with modern ideas.

How did you find working with those old machines again?

It was great. I had hardly any technical issues. I guess I can thank to the old school Japanese quality control – those machines were built to last! Apart from the occasional battery leaking they worked just fine!

Did you remember how to use them straight away?

I remembered the basics, but other things I had to look up on the internet. YouTube was actually a great source for tutorials. It was fun to learn how to use the machines again, and once I had it figured out, my fingers seemed to remember what to do.

Are you planning to work with these old machines again?

Right now I’m in the mood for it. I want to see where it takes me. I’ve got all my old machines still – my 303, 808, SH101, all the Roland Stuff. I bought them many years ago and they still work fine.

How did the record end up on Systematic?

I’ve been a big fan of the label and Marc Romboy’s stuff for many years. I sent Marc the track to check out, as I thought that it was something that Marc would like. I just wanted some feedback.

He reacted straight away within 10 or 15 minutes of my email, and he was really positive, so I thought ‘oh he’s feeling it, I want to work with him’. In my experience, an instant reaction is a good one.

Let’s talk about the other mixes on the release. What did you think of Alex Niggemann’s remix?

Alex did a really great job, I was really impressed the first time i listened to it. He used the original material and brought it to a different level. He did a lot with the original ideas.

I’ve been playing his remix and the original out for the last couple of weekends and the reaction on the floor has been really positive.


Get Satoshi Tomiie ‘Straight Up’ on Beatport

 

Go to Beatport.com Get These Tracks Add This Player

 

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Introducing Satoshi Tomiie’s Popup Parties

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For the last few years Japan’s most successful DJ Satoshi Tomiie has quietly been working on new music, that it turns out, is perfectly suited to small rooms. As such in 2012, Satoshi will unveil all of his new work through a series of global intimate Popup parties.

Satoshi has secretly been building up a bank of new special grooves – raw, deep house music, analogue rhythms and free melodies – that he is finally ready to unleash on dancefloors. The Satoshi Tomiie Popup parties will give dance music fans a chance to get up and close personal with one of the greats of house music, and experience his new dance music vision.

Satoshi Tomiie will play all-night at the exclusive Popup parties, where his sets will feature his new and unreleased music. The parties will take place only in small venues. The first Popup will take place in Rome on April 10 2012.

“I’ve worked hard on new music for the last couple of years, and I can’t wait to finally unveil it all,” said the Japanese producer and DJ. “I’ve always enjoyed playing in intimate spaces but I don’t often get a chance to play them. This tour will give me an opportunity to showcase my new music at parties that are perfectly sized for my new sound.”

Due to the intimate nature of Satoshi’s Popup parties, the venues of the events will be kept secret from the public until only 48 hours prior to a Popup party taking place. Popup dates will appear sporadically on http://satoshitomiiepopup.com.

To coincide with the tour, Satoshi Tomiie will be releasing some of his new special grooves through a few select record labels. The first single from his new work, ‘Straight Up’, will be released on Systematic on May 12th 2012.

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My new iPad/iPhone DJ set up

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A lot of people have been asking me about my new iPad/iPhone DJ set up. So here is a video that explains all!

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How to travel like a DJ!

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I fly all over the world for my DJ gigs. In fact, I think I spend more time in planes than I do in my own bed! Over the years I’ve learnt quite a lot about flying, so I thought I would share some of my travel “wisdom” with my fans (and for my own amusement).

I hope you find my top 10 list of tips on how to travel like a DJ interesting/insightful/funny.

1. Don’t check in bags. Ever. And never buy expensive luggage.

Like most people, I used to pack a big suitcase full of clothes for my DJ trips. And then one December day, after a decade of not too much hassle Alitalia lost my bag for three weeks.

They returned it to me in New York soaking wet and full of my nice clothes, all ruined. That’s when I decided never to check in a bag ever again.

When you fly as much as I do, and travel for as long as I do, that’s not an easy choice to make. The European DJ tour that I’m on right now is over a month long, and a month is a long time to live out of your hand luggage.

But I think it’s simply not worth the financial risk or ball ache. One time an airline returned my $750 suitcase to me in a jar. I exaggerate of course, but basically the inside of the bag (see above) was burnt, as though midway through the flight the pilot had got bored and decided to test his new cigar lighter on the inside of my bag. That time, the airline compensated me with a generous $100 after a two week phone battle with their customer service.

So if you’re thinking of splashing out a nice Louis Vuitton luggage set, think again. If you do have to check in your bag (like for instance, when you’re flying budget), remove some essential items so you can survive a day or two without a bag.

2. Have multiple hard drive back ups.

Vinyl is gone, and so too is the back pain caused by lugging dirty great big record bags across the oceans. That doesn’t mean however, that digital DJing is foolproof.

Far from it. Before if you lost your record bag, you’d only lose 50 or 75 records – heartbreaking, but not the end of the world. But now if your laptop blows up, you can lose your entire music collection. So always have a back up.

I go the extra mile. When I’m on the road, I have my laptop and two further back up hard drives which I leave in my hotel room safe.

The back ups are important. One time in Ibiza my bag was stolen but because I had a back up I could still play that night.

I also have two further hard drive back ups at home, so that if the shit seriously hits the fan, at least I know my precious music is secure back in New York, far away from the current danger.

Another tip: have an exact replica of your system hard drive because if your internal laptop hard drive fails (which has happened to me two times on the road), you can simply swap them over without crying too much.

3. Downsize your headphones.

One of the most annoying items to carry on a flight has to be DJ headphones. Their awkward shape and brittle nature makes neat packing your hand luggage a bit of a nightmare. Even the ones that fold up, resemble a fist shape when folded – hardly ideal for space saving.

None of that affects me though because I use in-ear monitors to DJ with. Mine are made by Sensaphonics and they are custom moulded so they fit perfectly in my ears. In the right ear I use a custom moulded -15DB ear plug, and the left one is my custom moulded monitor.

That saves me a lot of room as they come in a little pouch about the size of an iPhone. The only downside is, I can’t hold my headphones in the air like a gladiator. I can however, swing mine round and round like a lasso.

4. Never take the last flight of the day.

Missing a gig due to a flight cancellation has to be one of the poorest DJ excuses, but it happens all the time. That’s why I never take the last flight of the day if I have the choice, because if your flight is cancelled, you can always take the next one.

5. Leave two hours between connection flights.

Frequent fliers will know all too well the pain caused by a delayed first leg of a journey. If you’re unlucky, a delayed flight can cause you to miss multiple connections and your gig. So I always make sure to leave between two, and two and half hours between connection flights.

It does mean you’ll be waiting around in airports for longer if your flights are on time, but that’s a way better scenario then going home having never played one beat.

6. Take the window seat.

DJs sleep less than anyone. That’s why I always insist on having a window seat, so I can lean against the plane window and catch up on some shut eye. Every minute counts.

And you won’t have anyone impatiently prodding you on the shoulder asking you to move because they need a leak, as you will be THAT guy.

7. Always take your electronics with you.

A DJ can survive without food for weeks. A DJ can survive without water for days. A DJ cannot survive without Facebook, Twitter or Beatport.

8. Mornings at the airport suck.

For some reason, airports in the morning suck. It’s like people’s holiday time is so important that they have to book the first flight out of airport to maximise the amount of time they spend away from home. And businessmen always like to brag about that important 9AM meeting they have 1000 miles away.

So airports in the morning are always rammed. Us DJs are night creatures however, and do not have to concern ourselves with the pitiful travel circumstances of daylight beings. I always take the relaxing, half full afternoon flights when I can.

9. Pick the right security line.

This one comes straight out of the film Up In The Air. To save time at the airport, always pick the right security line.

There’s nothing worse than being stuck behind a family of screaming kids as a child’s pram is inspected with a fine tooth comb for traces of explosive.

Also avoid large groups of drunken people traveling together, old people (they move slowly in general), and babies.

Aim for travelers on their own, businessmen (they rarely get hassled), and Asians (yep it’s true, we really are just more efficient).

10. Begging works. So does lying.

Every DJ has been here. Your first flight was delayed, so you have to run from one terminal to another to catch your next flight. Your name is read out over the public address system. You drop your bag spilling hundreds of foreign coins out in all directions across the marble floor. You finally make it to your gate sweating and grunting, only to find that your flight is closed despite you making it just in time.

“But I can still see the line of people walking into the plane,” you sob at the gate attendant.

“I’m sorry sir, that flight is now closed. You’ll have to take the next flight.”

“But please, it wasn’t my fault. My previous flight just landed, and I came straight here.”

“I’m sorry, you’ll have to take the next flight sir.”

Now at this point most people would just throw a tantrum, and to be fair, you probably deserve one. However in my experience, I’ve learnt that reasoning with a gate attendant, and then begging, does actually work. All it requires is for you to explain that you’re a DJ heading off to play a charity gig to help raise money for starving children in Africa, and they usually let you through.

Special Extra Tip: Get Tripit

There’s an awesome iPhone app called Tripit that does a great job of organising all your travel itineraries. They charge an online fee, but it’s well worth it. No more messy emails and lost hotel confirmations.

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satoshi tomiie

Satoshi Tomiie Podcast #08 Live Set From Viña Del Mar, Chile

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This month’s installment of the Satoshi Tomiie Podcast comes from his live set at Viña Del Mar during his most recent South American tour. Satoshi delivered an unforgettable journey on the beach in Chile that kept partygoers wanting more during a seamless three hour set. His eclectic selection of underground tracks mesmerized the crowd and closing off the set by paying homage to the great Frankie Knuckles with ‘Tears’ left the crowd in a state of pure bliss.

If you loved the podcast, then you’re in luck because Satoshi’s travels take him to Baum in Colombia, Supperclub in Dubai and The Warehouse in Beirut in the upcoming week.

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satoshi tomiie

Satoshi Tomiie Podcast #08 Live Set From Viña Del Mar, Chile

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podcast-8

This month’s installment of the Satoshi Tomiie Podcast comes from his live set at Viña Del Mar during his most recent South American tour. Satoshi delivered an unforgettable journey on the beach in Chile that kept partygoers wanting more during a seamless three hour set. His eclectic selection of underground tracks mesmerized the crowd and closing off the set by paying homage to the great Frankie Knuckles with ‘Tears’ left the crowd in a state of pure bliss.

If you loved the podcast, then you’re in luck because Satoshi’s travels take him to Baum in Colombia, Supperclub in Dubai and The Warehouse in Beirut in the upcoming week.

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Satoshi Tomiie is back with a vengeance in 2014

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The Japanese born, New York based DJ has plenty for fans of his emotive house music to get excited about, including a new podcast. The sixth in his self-released series is available on his soundcloud and was recorded live at his gig at a PopUp Party at AIR in Tokyo. It’s deep and moody and is a real treat that showcases his usual classy selections.

Satoshi also just had a new remix out on Bedrock Records for Stelios Vassiloudis in January, and his special dj set had been featured on the label boss, John Digweed’s regular and famous radio show, Transitions.

Throughout the next month or so Satoshi is also on tour around Italy. It kicks off on February 21st at Celebrita in Trecate and takes in a further seven dates around the European country including Milan, Bologna and Napoli right up to the 8th March. Full details are below.

Finally in the news at the moment – a new EP is soon to land on Satoshi’s much loved SAW Recordings from Satoeski. Satoeski is a collaboration between Satoshi and New York based DJ and producer Joeski and the single is out in February. There is more happening in ST’s world all the time so for more info keep your eyes on his Facebook.

2014-01-31 DRAGON DEL SUR Lima
2014-02-21 CELEBRITA Trecate
2014-02-22 VIBE Calcinaia
2014-02-23 CIRCUS Brescia
2014-02-25 11 CLUBROOM Milano
2014-02-27 SET Monticchio
2014-02-28 CASSERO Bologna
2014-03-02 NOLITA Alessandria
2014-03-08 ARENILE RELOAD Napoli

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Satoshi in Fall

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After a busy summer of gigs in Europe, USA, Mexico and at festivals like Tomorrowland, house music hero Satoshi Tomiie is not resting in fall. His busy DJ diary takes him to Italy before heading home to Japan for a number of gigs, then to Honolulu, back to Japan and finishing up in Bali come the end of November.

 

 

2013-10-31   PUBBLIC CLUB – Corato, IT

2013-11-01   ICON – Mantova, IT

2013-11-09   MAGO – Nagoya, JP

2013-11-15   REPUBLIK – Honolulu, US

2013-11-22   VISION – Tokyo, JP

2013-11-23   TROOP CAFE – Kobe, JP

2013-11-29   THE TOWNHOUSE – Bali

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Satoshi Tomiie ‘Prism Vision’ [Melisma]

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Satoshi Tomiie continues his production resurgence with a new single on the currently hot label Melisma, run by Cadenza artists Dani Casarano and Felipe Valenzuela.

The Japanese New York-based producer and DJ broke a two year music production silence in April with a stripped back devastating acid house groove called ‘Straight Up’, released on Marc Romboy’s Systematic Recordings. The track has become one of Satoshi’s signature tunes at his small and intimate Popup parties which have so far taken place in secret locations in Rome and Tokyo.

Tomiie’s upcoming Melisma single is called Prism Vision, and once again the cut shows his flair for creating subtle, intelligent, and good ‘n simple house music. The classic feel of his recent tracks comes down to Satoshi’s current studio set up, which is based around a combination of modern technology like soft synths, and original analogue gear like the original Roland TB303, and some virtual classic Roland drum machines and synths. Not to mention the fact that Satoshi has been making house music since the late 1980s and his debut single ‘Tears’ was co-produced with the “godfather of house”, Frankie Knuckles.

‘Prism Vision’ works its magic from multiple layers. Whilst the beats are classic Chicago with occasional and powerful modern twists, the melody is constructed from a smattering of retro synthesizers and some key piano chords. Satoshi Tomiie is a classical pianist and has played the piano since he was a child – with such an innate understanding of music and hand-created melodies, his tracks are often driven by such keyboard moments.

For the B-side remix, Melisma label owners Dani Casarano and Felipe Valenzuela provided a more driving peak time groove, that makes big use of Satoshi’s piano jamming. With a wobbly driving bassline, the remix is a piano house bomb and the perfect track for the summer.

Read 

Interview: Satoshi Tomiie’s new track ‘Straight Up’

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Straight Up is the first original production that we’ve had from you in quite some time. Where have you been?

I’ve been secretly working on new music for the past couple of years. Now I’m finally ready to unleash all my new music! Straight Up is one of the tunes that I was working on. In many ways, the track is a revisit of my roots as the set up that I used to make it is a virtual set up of my original bedroom set up that I had in Tokyo, when I first began making music many years ago.

It’s a combination of modern technology like soft synths, and the original analogue gear. I used the original Roland TB303, and some virtual classic Roland drum machines and synths.

What was the set up?

I used a Roland TB303, some classic drum machines, and a couple of synths. That’s it really.

The track does sound very classic house sound.

Yes, I guess I would describe it as early stage house music, but with a modern twist. It reminds me of the original Chicago house that labels like Trax and DJ International put out. It’s like some of DJ Pierre’s early acid stuff, but I combined it with modern ideas.

How did you find working with those old machines again?

It was great. I had hardly any technical issues. I guess I can thank to the old school Japanese quality control – those machines were built to last! Apart from the occasional battery leaking they worked just fine!

Did you remember how to use them straight away?

I remembered the basics, but other things I had to look up on the internet. YouTube was actually a great source for tutorials. It was fun to learn how to use the machines again, and once I had it figured out, my fingers seemed to remember what to do.

Are you planning to work with these old machines again?

Right now I’m in the mood for it. I want to see where it takes me. I’ve got all my old machines still – my 303, 808, SH101, all the Roland Stuff. I bought them many years ago and they still work fine.

How did the record end up on Systematic?

I’ve been a big fan of the label and Marc Romboy’s stuff for many years. I sent Marc the track to check out, as I thought that it was something that Marc would like. I just wanted some feedback.

He reacted straight away within 10 or 15 minutes of my email, and he was really positive, so I thought ‘oh he’s feeling it, I want to work with him’. In my experience, an instant reaction is a good one.

Let’s talk about the other mixes on the release. What did you think of Alex Niggemann’s remix?

Alex did a really great job, I was really impressed the first time i listened to it. He used the original material and brought it to a different level. He did a lot with the original ideas.

I’ve been playing his remix and the original out for the last couple of weekends and the reaction on the floor has been really positive.


Get Satoshi Tomiie ‘Straight Up’ on Beatport

 

Go to Beatport.com Get These Tracks Add This Player

 

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DJ industry praise SAW Recordings’ new release

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Marco Carola, Loco Dice, Reboot, Lee Burridge, 2000 And One, Davide Squillace, SIS, Adam Port, Hernan Catteneo, Lee Curtiss – the DJ praise for SAW Recordings’ new release, Guti’s ‘Keep It’, is absolutely huge.

Here is what the DJ industry is saying about the three tracker:

Reboot: Nice EP again from Guti. Will be playing these.

Carlo Lio: ‘Keep It’ (Original Mix) is great! Emotional yet raw! Will definitely be giving this a play. Satoshi’s take is also very cool.

Loco Dice: BAMMMMMM!!!!

Lee Burridge: Keep It is really cool. I’ll be playing it. Good work Guti.

Phonique: All three of the tracks here are great! Playing!

Marc Romboy: Hey Satoshi! You should make many more remixes buddy! Your remix is ACE!

Marco Carola: BAM! Nice track for me. Will test it.

2000 And One: Cool piano tune from Guti! Will test it out.

Davide Squillace – “Big up to my pal!! 5/5 for Keep It!!”

Layo: Oh yeah! This is another nice remix from Satoshi! Support!

Hernan Cattaneo: Excellent release, especially Satoshi’s remix!

Mihalis Safras: Smoooth knockin’ mix from Satoshi. Will try it out.

Anja Schneider: I love it when Guti plays the piano!

Karotte: Keep It is a great piano track. Love it and will play!

Cirillo: Keep It is very good! Thanks for sending.

Nick Warren: A great original and a cracking remix by Satoshi! Support.

Daniel Stefanik: BAM! is the one here. It has a nice groove!

Yousef: Keep It is certainly a grower. I’m Guti’s biggest fan. Good work.

Karlos Sense (Ibiza Sonica): BAM! for me. Full support on Ibiza Sonica Radio.

Paul Hamill (Across The Line – BBC Ulster): Satoshi Tomiie Remix for me on this. Wicked stuff.

Kiko Martínez (DocePulgadas Radio Show Spain): Satoshi Tomiie remix is for me, great work! Support.

Jose Maria Ramon (Ibiza Global Radio): Wow! Always music with a touch of magic on it! Love Guti! Support from Ibiza Global Radio.

ONLY FOR DJ’s Magazine: Reviewed in Only For DJ’s magazine.

Sergio B (deejay.es): Excellent! Good Guti tune and great Satoshi remix. The keyboard sounds have a 90′s energy.

Wally Lopez: Oh I love this! Will play the original!

AFFKT: I love the organic feeling of the tracks! Great work Guti.

Adam Port: The Satoshi Tomiie Remix is my pick here! BAM! is also DOPE!

Greg (Catz n Dogz): This is such a FANTASTIC Satoshi Tomiie Remix!

Ali (Tiefschwarz): Gut besser Guti! Gonna play it!

Anthony Collins: Nice EP by Mr Guti. Keep It is well done. Will try it out.

Shlomi Aber: BAM! is sounding cool to me. Will test it!

SIS: BAM! Is the strongest and most suited track to my sets. Support!

Coyu: Keep It is basic but effective. Nice. Good job Gutierrez! The remix of Satoshi is great too. Great release.

Chaim: The original of Keep It ROCKS! LOVE IT!

Rocky (X-Press 2): Satoshi’s mix and Bam! are both doing it for me!! May play on the radio show.

Martin Eyerer: Cool new Guti release. Liking the original.

Lee Curtiss: Satoshi Tomiie’s remix is the standout here. Will try it out for sure!

Luca Bacchetti: “I love all the versions! Good to see my friend Guti on Satoshi’s label!

Andy Baxter (Pacha / Café Mambo Ibiza): Sounds great as always. Satoshi takes the gold though!

Steve Parry (Juice FM UK): Great tracks, Satoshi’s mix is my fave, but they’re all good.

Sébastien B (Paris One Radio): We will playlist this Satoshi remix. Good one.

Diversions – (CHRY 105.5FM Toronto) – “Keep It sounds great – simple yet effective track!”

Makossa (Radio FM4 / Vienna): Great EP, great tracks. Loving the Satoshi Tomiie Remix.

Corin Arnold (Music Editor BLN.FM): Downloading for bln.fm. Satoshi Tomiie’s mix is of course superb, the original is pretty spot on too.

Toni Moreno (Ibiza Global Radio): Amazing tracks! Full support on Ibiza Global Radio.

Scan Mode (DJ Magazine Spain): Keep It is amazing!

Rafael (Raveline Magazine): Satoshi Tomiie Remix, what a bomb!

Soundwall.it: Bravo Guti! Nice!

Tsugi Magazine France: Nice EP. Like the Satoshi Tomiie Remix.

De:Bug Magazine France: Considering for review.


Download Guti ‘Keep It’ from Beatport

Go to Beatport.com Get These Tracks Add This Player

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Interview: Luca Bear & his ‘Sierra Leone’ single [Saw Recordings]

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Meticulous house producer Satoshi Tomiie is well known for his attention to detail. Ever since his magnificent debut single ‘Tears’, the 1989 house classic that he produced with the ‘Godfather of House’ Frankie Knuckles, Satoshi Tomiie’s name has been synonymous with carefully crafted house goodness.

In a new series of interviews exclusive to Satoshi Tomiie’s Facebook page, the New York City producer, DJ, and label owner will share some studio tips, thought processes, and production tricks that he has acquired during a music career that stretches over 20 years.

Here in part one, Satoshi starts with that most basic element of dance music: the kick drum.

Where do you begin, when writing a new track?

I always start with the kick drums. It’s about finding the right sound firstly, and then changing that sound and tweaking it continuously, whilst you produce the music for the track.

The kick drum is the foundation of dance music, so this is the part that I spend the most amount of time on.

That’s quite surprising, that you always start with the kick drum.

I don’t have a formula for writing music, but basically, the kick and bass is the bottom foundation of a dance track and it always has been.

Back in the day, the kick originated from a drum machine, like the Roland TR-909 or 808 and slowly it moved into the sampler. The technology has changed, but really it’s still about the kick.

Is there really that much difference between one kick and the next?

Actually the tone of a kick drum changes quite significantly according to the vibe of a song. For example, if you take the kick from a rocky alternative track, and swap it with the kick from a techno track, the vibe of both songs will change completely. The aim is to find the appropriate kick drum for the song.

How many kick drum samples do you have?

I’ve collected countless samples of kick drums over the years. I try to not use the same kick drum more than once.

Why not?

If you use the same kick drum, the inspiration that you get from it can be limited. I’m always looking for new kicks. In fact, you could say my whole career has been about searching for the perfect kick drum.

Where do you get them from?

Sometimes I sample a kick from a record or a sample CD. Sometimes I’ll mix two kick drums together to create a new one, but that gets tricky as two different kick drums on top of each other can actually make the whole kick sound smaller as they cancel each other out.

It’s called phasing. The same thing happens if you wire a pair of stereo speakers backwards. It basically cancels out the bottom end. So when you layer kicks you have to tweak the phases on one kick drum so you feel both simultaneously.

So you’ve got your kick drum sorted, what’s next?

Well as I mentioned earlier, I continually tweak the kick whilst writing a track. Sometimes I will switch a kick half way through writing a track, or even when I’ve finished a track if I feel it’s not quite appropriate. I always go back and forth between the lower foundation of a track and the mid-range musical part, as well as the high end hi hats. It’s a balance really.

My tracks usually develop pretty organically. I will get the idea for how the track will go, as I write it. That could be a lead or a bassline, or the lyrics – it all happens when I write it.

Like sometimes I will set out wanting to write a deep house track, but the writing process will end up leading me to something else.

Why is that?

Some producers can easily adjust the style of music they want to do – you always hear of producers who just copy what’s currently hot. I can’t. My music just happens. Also, some people change their engineer when they want to change sounds, but because I do everything myself I can’t do that.

So your music happens quite naturally. Where does it lead after the kick drum?

After the kick, I put a beat together by adding snares and hi hats to build a loop. This is the easiest part for me.

It’s about finding the right sounds to go with the kick, and the right breaks too.

How long are your loops generally?

I tend to stick to a four bar or eight bar loop first, and then I will make the arrangement later. You’ve got to prepare your ingredients before you can cook, and to me, arranging a track is the cooking part.

Part two of Satoshi Tomiie’s guide to writing dance music will be on his Facebook page soon.

(Words: Terry Church)

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Interview: Mabaan Soul talk about ‘Yo’ and their unique sound

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Perhaps one of the more coherent things to have emerged out of an after party, the Mabaan Soul project formed when Fabio Cicchetti and Lorenzo Avallone played music together at an afterhours spot in 2007 in Viareggio, Tuscany.

What began as an impromptu back to back session had soon turned into a flourishing DJ and studio partnership. Mabaan Soul saw their first release on London’s Metroline Recordings in 2009, and soon after they were remixing one of house music’s biggest producers, Satoshi Tomiie, who asked the pair to rework his ‘Back To Basics’ track for his high profile New York imprint Saw Recordings.

Cicchetti, 25, and Avallone, 24, have worked closely with Satoshi Tomiie and Hector Romero’s Saw label ever since. Their debut Saw EP ‘On The Beat’, was released in June last year. With four outstanding groove-driven house tracks, hip shaking percussion loops, and clever rhythmical and musical changes, the EP proved that Mabaan Soul were big on ideas.

Today sees the release of Mabaan Soul’s much anticipated follow-up single ‘Yo’. The track’s raw beats and funky house grooves sound quite like a classic Todd Terry track, or a sick house groove that DJ Sneak, Luciano, or Ricardo Villalobos might throw on.

With much buzz brewing around Mabaan Soul, we called Fabio Cicchetti and Lorenzo Avallone in Italy to find out more about their unique sound and their relationship with Saw Recordings.

How did you first connect with Satoshi?

We met Satoshi two summers ago when he played in La Canniccia Club in Tuscany, here in Italy. We told him that we DJed and also made tracks, so afterwards we sent him some of our works, including our first release on Metroline LTD.

He replied and told us that he liked our music and would play it out at his next gig. That was very cool for us! So we started to send him more of our music, and then he asked us do a release for Saw, as well as a remix for him.

‘Yo’ is our second release for SAW, and it comes with a remix from Gavin Herlihy which we are very happy about it. Saw is a big label for house music, and Satoshi and Hector are great people.

Tell us more about ‘Yo’.

When we started working on the track, we wanted to create something for the floor that got people dancing hard. [laughs]

Specifically, we wanted to use two breakdowns that linked together so that it caused a bit of confusion on the floor, as well as anticipation. The result is that people always throw their hands up in the air when the beat kicks back in.

It really works in this way. Satoshi has played the track out a lot with some big reactions from the floor. I would probably call it a “big up” track.

We and all the Saw crew believe a lot in the project and with Gavin Herlihy’s remix the release is super cool.

So you guys are very focused on making people dance. Why is that the most important thing for you?

I guess it depends really on where we want to be when we start a new work. Our music is always for the dancefloor, but there are different moods and levels on a dancefloor. Not everything is about full on dancing.

How would you describe your sound then?

Our basic idea is to mix the present and past, to mix old grooves with new grooves. For instance, we love putting classic house grooves with modern dub synths and vocal stabs. We also love so much, the breaks in a house music track. We’ve tried to create our own style.

I can hear that you guys love breaks. There’s quite a lot of rhythm sections without a kick drum in your music.

We do a lot of that in general in our tracks. We love creating rhythms out of hi hats, as that can make the groove on a track. That’s very important for us.

It’s the same with the bass. All sounds on a track are important, but we play close attention to mixing the old with the new.

Let’s talk influences. You’re obviously a fan of classic house. Which DJs/producers got you first into electronic music?

We like DJs that have an impact on the floor. We’ve partied a lot in Italy and in Europe, and I can say that there are some DJs that are miles ahead of all others, in terms of music and the impact they have on the people.

For us, it’s guys like Ricardo Villalobos, Richie Hawtin, Luciano, DJ Sneak, and Sven Vath. They are all bomb DJs. Their sets are involving and people dance non stop when they play.

I could definitely hear the Luciano, DJ Sneak, and Villalobos influence in your music.

All of those guys are big names, and of course, anyone who is interested in underground music knows them. But for productions, our influences stretch much further.

For example we love Seth Troxler, Guy Gerber, and all of the Metroline artists like Fog, Rio Padice, and Metroline’s label head Phiorio. Plus we dig the fantastic grooves on Crosstown Rebels.

Overall, both our DJ sets and productions need a different, stylistic approach. When we start working on a new track, we always think long and hard about what sound and which kind of groove we want to create, and which synth is better with which bass. Of course, it also depends on what kind of sound we want to create. When we plan our DJ sets it’s important for us to research the club.

What do you mean?

Like, which type of clubbers go to the party, what’s the party like, and all the others things that can affect the way you DJ.

What’s your studio like?

We share our studio with our friend Giacomo Picchi, who DJs under the name Acid. We work with Logic and Ableton Live, and use lots of good plugins such as Sonalksis, Waves, and others. We have a new Mackie Universal Control Pro as a mixer and our favourite platform is Mac OSX.

Actually, at the moment we’re buying some new analog gear, including a new compressor/limiter, a new EQ, plus three new effects.

Have you always been a fan of Satoshi Tomiie?

Yeah! Ever since I first heard him play at Kama Kama in Camaiore maybe six or seven years ago. I love the precision that he has with his mixing. That was awesome for me.

How did you first get your music released on Metroline?

The Italoboyz helped us so much. We are big friends with them, and they’ve played a lot of our tracks in their sets. I passed them one of our CDs in Milan about three years ago which had some of our music.

Some months later, they got in touch to say that they liked our work very much and that they had been playing a lot of our music out, specifically two tracks, ‘Bow Bells’ and ‘SkA’.

That encouraged us to send our music to more labels, and in August 2009 we released our first EP ‘New Orleans’ on Metroline, which included ‘Bow Bells’ and ‘SkA’. We got some great feedback.

Any examples?

DJ Sneak, for instance! He loves ‘Bow Bells’ so much he said.

Are you still running your afterparties in Viareggio?

Yes, we play a lot for our friends here when we can find the right place. As you can imagine, the parties are usually pretty funny.

Our official DJ sets in clubs happen about two or three times a month.

Finally, what do you have planned for the future?

We are working on a release for Carlo Lio’s label Rawthentic Music and, of course, we want to release more stuff on Metroline and Saw. We’re just really happy to be able to work closely with Saw Recordings and Satoshi.

Listen / download Mabaan Soul ‘Yo’ [Saw Recordings] from Beatport

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Satoshi Tomiie Podcast #08 Live Set From Viña Del Mar, Chile

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This month’s installment of the Satoshi Tomiie Podcast comes from his live set at Viña Del Mar during his most recent South American tour. Satoshi delivered an unforgettable journey on the beach in Chile that kept partygoers wanting more during a seamless three hour set. His eclectic selection of underground tracks mesmerized the crowd and closing off the set by paying homage to the great Frankie Knuckles with ‘Tears’ left the crowd in a state of pure bliss.

If you loved the podcast, then you’re in luck because Satoshi’s travels take him to Baum in Colombia, Supperclub in Dubai and The Warehouse in Beirut in the upcoming week.

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Satoshi Tomiie Podcast #08 Live Set From Viña Del Mar, Chile

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podcast-8

This month’s installment of the Satoshi Tomiie Podcast comes from his live set at Viña Del Mar during his most recent South American tour. Satoshi delivered an unforgettable journey on the beach in Chile that kept partygoers wanting more during a seamless three hour set. His eclectic selection of underground tracks mesmerized the crowd and closing off the set by paying homage to the great Frankie Knuckles with ‘Tears’ left the crowd in a state of pure bliss.

If you loved the podcast, then you’re in luck because Satoshi’s travels take him to Baum in Colombia, Supperclub in Dubai and The Warehouse in Beirut in the upcoming week.

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A few weeks left before the new year

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One has to wonder when or even if Satoshi Tomiie ever takes a break. Since launching his career in the late ’80s and becoming a prolific figure in the house scene, it seems he’s still in love with his craft as he ever was given his hectic schedule. 2013, as expected, was nothing short of busy for the icon. From Mexico to Japan to Honolulu to Bali to NYC, Satoshi traveled to nearly every corner of the world to continue sharing his music with his fans. In addition to a seemingly endless tour diary, he also unveiled a new monthly podcast series earlier this year–further confirmation he shows no signs of slowing down.

This week, Satoshi will begin closing out 2013 in a series of shows spanning from Costa Rica (Vertigo), Guatemala (Sinprive), El Salvador (Amnesia) and back to the Big Apple at Le Bain where he will be joined by Alex from Tokyo in honor of Japan Society Gallery’s exhibition “REBIRTH: Recent work by Mariko Mori.”

Sponsored by The Armory Show, the event will take place from 9 p.m. until 3 a.m.

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11月のツアースケジュール

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今年の11月の帰国ツアーはいつものような「帰って来たと思ったらもういないじゃん」感じでなく12月の頭までベースを日本に置きます。久々の長期滞在(といっても国外の仕事もあるのでいない日々も多いのですが)、楽しみだ〜
ハロウィン週末のイタリアでの仕事も終了、もうすぐ今回のツアー最初の名古屋に向かいます。
東京、3年ぶりの神戸に8年ぶり?位のハワイに初めてのバリ島、同じタイミングで滞在している方は是非!詳細は日付をクリックで

 

 

2013-11-09   MAGO – Nagoya, JP

2013-11-15   REPUBLIK – Honolulu, US

2013-11-22   VISION – Tokyo, JP

2013-11-23   TROOP CAFE – Kobe, JP

2013-11-29   THE TOWNHOUSE – Bali

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Satoshi in Fall

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After a busy summer of gigs in Europe, USA, Mexico and at festivals like Tomorrowland, house music hero Satoshi Tomiie is not resting in fall. His busy DJ diary takes him to Italy before heading home to Japan for a number of gigs, then to Honolulu, back to Japan and finishing up in Bali come the end of November.

 

 

2013-10-31   PUBBLIC CLUB – Corato, IT

2013-11-01   ICON – Mantova, IT

2013-11-09   MAGO – Nagoya, JP

2013-11-15   REPUBLIK – Honolulu, US

2013-11-22   VISION – Tokyo, JP

2013-11-23   TROOP CAFE – Kobe, JP

2013-11-29   THE TOWNHOUSE – Bali

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Trio of Satoshi tour dates this weekend

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The peak holiday weekend of European summer will see Satoshi Tomiie continue DJing around the world with three back-to-back dates.

The first of this trio is on the 15thAugust at MOSQUITO in Salento, Italy, followed by the much loved PARADISO in Rhodes, Greece on 16th, and the third on Saturday the 17th is at LA ROCCA in Lier, Belgium.

For a taste of what to expect, you can now listen to a LIVE RECORDING from his recent set at TOMORROWLAND

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Satoshi Tomiie Podcast #08 Live Set From Viña Del Mar, Chile

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This month’s installment of the Satoshi Tomiie Podcast comes from his live set at Viña Del Mar during his most recent South American tour. Satoshi delivered an unforgettable journey on the beach in Chile that kept partygoers wanting more during a seamless three hour set. His eclectic selection of underground tracks mesmerized the crowd and closing off the set by paying homage to the great Frankie Knuckles with ‘Tears’ left the crowd in a state of pure bliss.

If you loved the podcast, then you’re in luck because Satoshi’s travels take him to Baum in Colombia, Supperclub in Dubai and The Warehouse in Beirut in the upcoming week.

Read 
satoshi tomiie

Satoshi Tomiie Podcast #08 Live Set From Viña Del Mar, Chile

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podcast-8

This month’s installment of the Satoshi Tomiie Podcast comes from his live set at Viña Del Mar during his most recent South American tour. Satoshi delivered an unforgettable journey on the beach in Chile that kept partygoers wanting more during a seamless three hour set. His eclectic selection of underground tracks mesmerized the crowd and closing off the set by paying homage to the great Frankie Knuckles with ‘Tears’ left the crowd in a state of pure bliss.

If you loved the podcast, then you’re in luck because Satoshi’s travels take him to Baum in Colombia, Supperclub in Dubai and The Warehouse in Beirut in the upcoming week.

Read 

Satoshi in Fall

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After a busy summer of gigs in Europe, USA, Mexico and at festivals like Tomorrowland, house music hero Satoshi Tomiie is not resting in fall. His busy DJ diary takes him to Italy before heading home to Japan for a number of gigs, then to Honolulu, back to Japan and finishing up in Bali come the end of November.

 

 

2013-10-31   PUBBLIC CLUB – Corato, IT

2013-11-01   ICON – Mantova, IT

2013-11-09   MAGO – Nagoya, JP

2013-11-15   REPUBLIK – Honolulu, US

2013-11-22   VISION – Tokyo, JP

2013-11-23   TROOP CAFE – Kobe, JP

2013-11-29   THE TOWNHOUSE – Bali

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Podcast #04 and upcoming shows

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While New Yorkers bade farewell to another glorious summer, Satoshi Tomiie took over the decks at Canopy Bar for a recent Autobrennt showcase. As the sun began setting over Brooklyn and the Manhattan skyline shimmered in the distance, Satoshi kicked off a stunning set–a divine selection of rooftop vibes that kept the crowds grooving until the very last minute. Over the course of three hours, Satoshi seamlessly weaved through the likes of Spleen Underground Music, Tim Paris, Aaaron, TV Baby/Maetrik, Simon Garcia, and various others before closing with Chateau Flight’s electric “Kounka”–a fitting track to close a night of uninhibited revelry. Fortunately, Satoshi was able to record his gem of a mix for those who were unable to attend the intimate gathering over Labor Day weekend. Even better, fans who live in Los Angeles, Las Vegas or Miami can experience the magic at three of Satoshi’s upcoming shows throughout the month of October.

Oct – 4 Incognito LA

Oct – 5 Artisan Las Vegas

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Satoshi Tomiie Podcast #003

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Satoshi live from Tomorrowland 

 

In the middle of a busy summer finishing his next artist album and playing plenty of club and festival dates around Europe, Satoshi recently played Tomorrowland in Belgium. He lined up in the Ketaloco Arena with people like Solomun, Guti, dOP and TiNi and laid down a typically tight set that touches on plenty of house styles.

 

Here is just less than 90 minutes of the set recorded live on the night for you to enjoy. In true Satoshi style it starts deep and groovy and subtly shifts through the gears to touch on classic sounding vocal stuff, more hurried tech and plenty of party-starting funk in the latter stages. Hit play, then, and sink comfortably into the grooves…

 

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Podcast 02 – Cordoba Argentina at Lokitas

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Earlier this year, prolific DJ/producer Satoshi Tomiie launched his new monthly podcast series with a fantastic inaugural mix recorded live in Tokyo. This month, Mr. Tomiie returns with yet another noteworthy set–this time mixed live in Argentina.
According to the producer, the city of Cordoba has been one of his favorite places to perform throughout his career. The first time he played there, his 2 hour intimate set at Lokitas wound up lasting a whopping 11 hours–can you blame him for liking it so much? If you ask us, that’s a good enough reason to go back–and he did.
Satoshi’s recent Argentinian tour would not be complete without another trip to Cordoba. This time, he recorded his set for fans everywhere to enjoy. Anyone who knows Satoshi’s work knows it’s always flawless. As expected, the latest installment in his podcast series is equally perfect, but one can also sense the immense passion and dedication put behind it for the Cordoba crowd.

 

1. Marasco Hold It Like That (Back To The Roots Mix) Siesta
2. Kate Simko Lost In London Get Physical
3. Robot Needs Oil Mood Swings (Simon Garcia Remix) Atreform
4. Nacho Marco Ghosts Ovum Recordings
5. Unknown
6. DJ Koze Burn With Me (Original Mix) Pampa Records
7. Rework Touch Vision Quest
8. Apollonia VISA AMERICAIN Apollonia
9. H Foundation & David Durango Canvas Supplement Facts
10. D’Julz DA MADNESS-THE MARTINEZ BROTHERS feat PHIL WEEKS REMIX Bass Culture

 

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Satoshi Tomiie is launching new Podcast series

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Though a lot has changed since Satoshi Tomiie launched his career in the late 80s, one thing certainly hasn’t – Satoshi has never lost his spark. More than 2 decades later, the house legend is still touring, releasing albums, handling remixes, and more. Never stagnant, Satoshi is constantly evolving in his noteworthy career.
This month, he unveils a new monthly podcast series with a brand new mix recorded live in Tokyo.
Featuring original tracks and/or remixes by Solomun, Catz N Dogz & Kink, Marc Romboy, Franck Roger, The Martinez Brothers, Caribou, Satoshi’s brand new acid fueled remix of Coyu and many more, the mix offers a promising and exciting glimpse of what to expect from the podcast series in the future.

1. The Organ Grinder Steam Roller Ft Chesus 4Lux
2. Catz ‘n Dogz & KiNK Bad Love dirtybird
3. Solomun Sisi (Original Mix) KNM
4. Davide Squillace & Guti The Other Side Of Hustler This And That Lab
5. Mike Dunn meets Victor Simonelli & Luis Radio Nothing stays the same (Marc Romboy’s Devilfish Remix) Systematic Recordings
6. Kate Simko Go On Then (Franck Roger Dub) Leftroom Records
7. Basti Grub Melancholic
8. Coyu Aruba – Satoshi Tomiie Stripped Dub Suara
9. Butch Pompino Desolat
10. Burnski LOST IN THE ZOO (THE MARTINEZ BROTHERS’ BRONX ZOO MIX) Saved
11. Jori Hulkkonen, Tiga Trust Your Body (Danny Daze Dub) Turbo Recordings
12. Mathias Kaden Demence Desolat
13. Virgo Four It’s A Crime (Caribou Mix)

 

 

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Satoshi Tomiie Podcast #08 Live Set From Viña Del Mar, Chile

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This month’s installment of the Satoshi Tomiie Podcast comes from his live set at Viña Del Mar during his most recent South American tour. Satoshi delivered an unforgettable journey on the beach in Chile that kept partygoers wanting more during a seamless three hour set. His eclectic selection of underground tracks mesmerized the crowd and closing off the set by paying homage to the great Frankie Knuckles with ‘Tears’ left the crowd in a state of pure bliss.

If you loved the podcast, then you’re in luck because Satoshi’s travels take him to Baum in Colombia, Supperclub in Dubai and The Warehouse in Beirut in the upcoming week.

Read 
satoshi tomiie

Satoshi Tomiie Podcast #08 Live Set From Viña Del Mar, Chile

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podcast-8

This month’s installment of the Satoshi Tomiie Podcast comes from his live set at Viña Del Mar during his most recent South American tour. Satoshi delivered an unforgettable journey on the beach in Chile that kept partygoers wanting more during a seamless three hour set. His eclectic selection of underground tracks mesmerized the crowd and closing off the set by paying homage to the great Frankie Knuckles with ‘Tears’ left the crowd in a state of pure bliss.

If you loved the podcast, then you’re in luck because Satoshi’s travels take him to Baum in Colombia, Supperclub in Dubai and The Warehouse in Beirut in the upcoming week.

Read 

Satoshi in Fall

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After a busy summer of gigs in Europe, USA, Mexico and at festivals like Tomorrowland, house music hero Satoshi Tomiie is not resting in fall. His busy DJ diary takes him to Italy before heading home to Japan for a number of gigs, then to Honolulu, back to Japan and finishing up in Bali come the end of November.

 

 

2013-10-31   PUBBLIC CLUB – Corato, IT

2013-11-01   ICON – Mantova, IT

2013-11-09   MAGO – Nagoya, JP

2013-11-15   REPUBLIK – Honolulu, US

2013-11-22   VISION – Tokyo, JP

2013-11-23   TROOP CAFE – Kobe, JP

2013-11-29   THE TOWNHOUSE – Bali

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Summer Favorite Tunes

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As excitement continues to build ahead of the release of his next full length album, house hero Satoshi Tomiie allows us a rare peek into his record bag. Having produced so many bona fide house classics in his time, it’s a real treat that will also serve as some sort of indicator of what to expect from one of his current DJ sets around the world It’s a decidedly house-y list of records that takes in plenty of UK and bass driven artists such as Midland and his hit Trace on Aus Music, a disco-fried remix of Luke Solomun by Mark E, SAW.RECORDINGS’ new release “Don’t Hold Back’ by Echomen and more psych-disco thanks to the remix of Matias Aguayo by Prins Thomas. Some techier house from the likes of Frenchman and Real Tone boss Franck Roger is also included, as is an essential Larry Heard remix of Wallflower’s Say You Won’t Ever. It’s a tasty list for sure, and you can get stuck into it in all its glory over at Beatport.

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DJ Chart: Satoshi Tomiie’s Winter Bombs

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Here are my favourite 10 club tracks of the moment, which I’ve filtered for releases that are available on Beatport.

All of these tracks are on Beatport including Guti’s ‘Keep It’ which features a remix from me – my first track in two years!


SLG ‘I Love You But I’ve Chosen Disco’ (Axel Bowman Remix) [Pets Recordings]


Tough dirty electronic house with disco sprinkles and plenty of weirdness from the Polish producer.


Glimpse, Martin Dawson ‘Wildlife’ (Instrumental) [Leftroom Limited]

I’ve been playing both the instrumental and the vocal version of this great old school sounding house track. Love the beat structure and the epic synths on this.


Martin Dawson ‘Think About It feat. Nicholas Ryan Gant’ (Maceo Plex Remix) [Pets Recordings]

I really like Maceo Plex’ super-slow deep house grooves. This track is full of deep melodies, but at the same time it’s pretty underground.


T Ski Valley ‘Catch The Beat’ (Deetron Rollerskate Instrumental) [Peppermint Jam]

Deetron shows off his versatility here, with a groovy filtered disco jam for late sleazy nights in basements.


Jonny Rock, Luke Solomon ‘Megamixx (Mr. G’s Movin’ Remix)’ [Disco 45]

Mr. G’s music is always smart and dancefloor focused. This is deep funky techno.


Felipe Venegas, Felipe Valenzuela ‘Troia’ [Melisma]

Melisma is a label run by Cadenza contributor Dani Casarano. It always puts out quality tech house. This track is typically dark and moving. I’m currently working on a collaboration with Dani.


Guti ‘Keep It’ (Satoshi Tomiie Remix) [SAW]

‘Keep It’ is one of the biggest tracks of the year for me, from my good friend Guti. It’s got a great piano line in it, which is perfect for me. I had to remix it. This is my first production from my new studio which I built in New York. Finally, some new music from me!


Jay Shepheard ‘Fuzzy Border’ [Electric Minds]

This is an old school house track with UK garage vocals and keys. Go figure! I always love these nods to classic sounds, if they bring something fresh to the groove.


Joakim ‘Find A Way’ (Soul Clap Remix) [Tigersushi]

This is something completely different. Warm melancholic pop with beautiful melodies and vocals, the track suddenly kicks off into driving electronic epic house. One for the end of the night.

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Satoshi Tomiie’s Summer Bombs DJ Chart

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So much good music came out this summer that I found it impossible to create a Top 10 DJ chart. So here are my Top 11 tracks of the summer 2011! I have played all of these tracks multiple times in my sets over the summer. Listen to the Top 10 on Beatport.

1. Nikola Gala ‘Dope Beat’ (Original Mix) [Rekids]

Old school house flavor, with fun vocal chaos!

2. Martin Dawson & Catz ‘N Dogz feat. Nnaji ‘No Nights’ (Beatz Mix) [Get Physical]

Dirty electrofied bass growls, a gritty tom tom rhythm, and clever beats. My kind of underground house sound.

3. Davide Squillace & Guti ‘That Ginger Ponytail’ (Original Mix) [Hideout]

Wonky tribal minimal from DC10 resident Davide Squillace, and one of my favourite producers of the moment, Guti. Look out for a forthcoming track from Guti on my label SAW.

4. Stacey Pullen, Mirko Loko ‘Tronic Illusion’ (Original Mix) [Cadenza]

Heavy, hypnotic, and slow-burning techno from two great producers. This is unique and a little bit magical.

5. Luca Bear ‘Sierra Leone’ (Tuccillo Remix) [SAW.RECORDINGS]

This is one of the best tracks of the year for me – causes serious damage everytime I play it!

6. Audiofly feat. Fiora ’6 Degrees’ (Original) [Get Physical]

Wonderful, soulful deep house from British-Italian duo Audiofly. This is the perfect beach house track in my opinion.

7. Alex Smoke ‘Make My Day’ (Ryan Crosson’s Morning Sorrow Remix) [Soma]

An insanely twisted techno track, with a surprisingly sweet vocal and a devastatingly acidic bassline.

8. GummiHz ‘Head Rush’ (Drums Out Mix) [Claap]

Nothing but raw drums and old school house vocals! Simple but effective.

9. DJ Sodeyama ‘Life’ (Radio Slave Remix) [ARPA Records]

Radio Slave explores the murky, bass-driven side of tribal house with great success. The sleazy melody he manages to sneak into this rolling groove is pure 4AM bliss.

10. AFMB ‘The Far Side’ [Drumpoet]

With sexy piano keys and a memorable melody, this is classic Drumpoet deep house. Perfect for the warm up moments.

11. KINK ‘Trevoga’ [Kolour Records]

Bleepy drum disorder, a confusing arrangement, and loads of weird FX. This freaks me out!

Listen / download Satoshi Tomiie’s Summer Bombs DJ chart

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Satoshi Tomiie’s South American tour: DJ chart

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Satoshi Tomiie’s sound is a beautiful old mess at the moment, as his latest DJ chart shows.

With jacking Chicago house tools, conceptual jazz-driven grooves, acid workouts, and European techno swing, the New York-based DJ, producer and label owner seems to be in a summer mood as he gears up for a major tour of South America.

Beginning this Saturday, the boss of Saw Recordings will play some big gigs in Argentina, Bolivia, Brazil, Chile, and Guatemala. His June 2011 top 10 DJ chart features experimental funk from Kenny Larkin, powerful sound panorama by Robert Babicz, classic house feelings from Franck Roger, and 303-cheekiness from Josh Wink.

There are also raw beat tools by Gabriele Baldi and Mabaan Soul, and a big house anthem from Deetron. The chart gives some insight into the DJ sets that Satoshi has planned for his South American fans.

Satoshi Tomiie’s South American tour chart

Here we guide you through his chart, track by track.

Deetron ‘Starblazer’

Deetron’s summer house bomb is set to be one of the big tunes of the year. End of.

Franck Roger Stick To It

France’s underrated master of quality house music drops a sublimely funky acidic house groove, that does an extra fine job of updating the soul and feel of classic, instrumental driven house. The instruments run this riotous party record like the Star Wars Cantina band in that dodgy bar back on Mos Eisley (before Han shot that alien bitch dead). Unreleased, so you’ll just have to wait.


UNER ‘BassBoot’

Seriously funky synthesizer-driven house with a heavy bass riff that floats happily like a drunken jazz player on an old Moog keyboard.


Robert Babicz ‘Time Shift’

Irreverent deep acid house from Cologne sound wizard Robert Babicz, that inevitably ends up in an orgy of synthesizers and melody. Meticulously produced, of course.


Wi-fi Soul Beetle In Dixan [Gabriele Baldi Remix]

Gabriele Baldi seizes control of Wi-fi Soul’s ‘Beetle In Dixan’ with some nasty claps, simple FX trickery, and some very clever kick drum placements. A raw beat tool with plenty of short breakdowns to play with.


Jimpster ‘Alsace & Lorraine’ (Josh Wink Interpretation #1)


Retaining the euphoric funk of the original, Philly’s Josh Wink works his usual winky wonky magic into the rhythm of Jimpster’s Alsace & Lorraine, adding oomph, unexpected builds, and a little bit of acid. Superb.

Scuba ‘Feel It’

Sound vagabond Scuba proves, yet again, that he’s one helluva versatile cat with a dirty late night house anthem. With enveloping pads, heavy stabbing bass, and a rolling snare build up (remember those?!), ‘Feel It’ seems to bridge genres and decades.

Mabaan Soul ‘Yo’ (Gavin Herlihy Remix)

Saw Recordings’ hot Italian duo Mabaan Soul turn in an impressively raw house track, with just the right amount of digital trickery to keep the beats fresh. Gavin Herlihy then added some carnival fun.

Anonym ‘Go Deeper’ (Kenny Larkin Remix)

Stand-up comedian/Detroit techno experimentalist Kenny Larkin shows how to build proper anticipation on the dancefloor, with a stripped back jazzy house number that’s so elegant, you can reach out and touch its soul.


Doomwork ‘Flashlight’

Doomwork’s ‘Flashlight’ shows there’s more to the Italian duo than mainroom techno/prog tools. The beach house vibe on the track is just perfect for lazy summer raves.

(Words: Terry Church)

Satoshi Tomiie’s South American tour dates: June 2011

June 4 Pacha, Buenos Aires, Argentina
June 9 Set Cafe, Santa Curz de la Sierra, Bolivia
June 10 Clash Club, Sao Paolo, Brazil
June 11 Zucker Club, Ribeirão Preto, Brazil
June 17 Espacio Riesco, Santiago, Chile
June 18 Parque De La Industria, Guatemala City, Guatemala

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Satoshi Tomiie’s 5 Miami Bombs

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New York City’s Satoshi Tomiie jets in to Miami tomorrow for the city’s annual dance music gathering.

The SAW Recordings boss is due to DJ at two notable parties this year – the Bullitt Mixer at Cameo on Wednesday night, and the following day at Treehouse for a special SAW Recordings night for the label’s 10th anniversary.

The Bullitt Mixer is the annual Miami club night organized by The Bullitt Agency, the international booking agency behind some of the world’s biggest DJs, including Satoshi. Traditionally, a number of performers play back to back at the Bullitt Mixer and this year Satoshi will play a tag team set with one of Britain’s most famous DJs.

“The Bullitt Mixer tag team line-up is always kept secret from the public so unfortunately I can’t reveal who I’m DJing with,” said Satoshi. “But it’s going to be a big set full of all shades of house music.”

SAW Recordings’ club night on Thursday night will feature some of the label’s regular names including co-founder Hector Romero, Italy’s Luca Bacchetti, Sean Miller, and Tuccillo.

“Our Miami event this year is called ‘Edizone’, after our 10th anniversary album, which is due for release very soon,” explained Satoshi. “The album is an unmixed compilation of brand new and unreleased tracks, and we’re also planning to do a compilation of classics.”

With the world’s dance music eyes all fixed on Miami this week, we asked Satoshi Tomiie to reveal the five dancefloor bombs that he will use to smash up the city’s clubs. Lock and load!

Satoshi’s 5 Miami bombs

Luca Bear ‘Sierra Leone’ (Tuccillo Remix) [SAW.RECORDINGS]

This is coming up on SAW (due out May 19th), and will be featured on our 10th anniversary album ‘Edizone’. Tuccillo is a Pacha Ibiza resident, originally from Naples, and he is playing for us at our SAW party.

This track is quite housey, with a driving Chicago-styled groove. The original had some great sounds, but Tuccillo added his own flavour to it which works really well. It has been smashing up my dancefloors every night. I will play it at every gig in Miami for sure.

Bassfort ‘The Street Is My World’ (Piano Mix) [Freerange Records]

This track came out earlier this year. Again, it’s from the Chicago side of house, and they use the piano in a very clever way. Sometimes when you use a piano in house music it can sound over the top, but here they used it cleverly.

This is a good blend of tech house and classic house, and I really like it. However, it’s not a track that I can play everywhere. It’s only really for early on in the night, or late, at like 7am, when people are tired of heavy beats!


Yannick L. ‘Hotbox’ [Sonar Kollektiv]

This features a sample from a Paradise Garage classic, and it has a cool electro sound which proper heads will probably love. It’s not really disco, but it does have quite an intelligent musical base to it, with a cool 808 groove. This is great mixture of old dance music, when the music was more melodic, and the current electronic/techno sound. I gave this a 4.5 stars out of a possible 5 in my iTunes library which is very rare!

Layo & Bushwacka ‘What Do You Say Now’ [Olmeto Records]

This is super trippy and hypnotic. They didn’t use a single hit hat throughout the whole track! Wow, they’re really brave! This is something different, something weird.

I played it as my opening track last weekend and it worked really well, I was surprised actually. They use this crazy 909 snare with an 1980’s Detroit sound in the break, and it really destroys the floor. All without a hi hat!

Doomwork ‘Dirty Velvet’ [Retouch Recordings]

This is Doomwork’s first release on their label Retouch Recordings. It’s a true club tune, and has worked anywhere that I play. Doomwork are two young producers – I think they’re only 23 – and I’ve done a couple of gigs with them.

Their live show is getting really good, and I was really proud to see it when I saw it as I’m supporting them as much as I can. This track has a nice groove, and is funky in a non commercial way. I’m really looking forward to working with them again. We hope to do a tour together this year.

(Words: Terry Church)

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Satoshi Tomiie Podcast #08 Live Set From Viña Del Mar, Chile

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This month’s installment of the Satoshi Tomiie Podcast comes from his live set at Viña Del Mar during his most recent South American tour. Satoshi delivered an unforgettable journey on the beach in Chile that kept partygoers wanting more during a seamless three hour set. His eclectic selection of underground tracks mesmerized the crowd and closing off the set by paying homage to the great Frankie Knuckles with ‘Tears’ left the crowd in a state of pure bliss.

If you loved the podcast, then you’re in luck because Satoshi’s travels take him to Baum in Colombia, Supperclub in Dubai and The Warehouse in Beirut in the upcoming week.

Read 
satoshi tomiie

Satoshi Tomiie Podcast #08 Live Set From Viña Del Mar, Chile

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podcast-8

This month’s installment of the Satoshi Tomiie Podcast comes from his live set at Viña Del Mar during his most recent South American tour. Satoshi delivered an unforgettable journey on the beach in Chile that kept partygoers wanting more during a seamless three hour set. His eclectic selection of underground tracks mesmerized the crowd and closing off the set by paying homage to the great Frankie Knuckles with ‘Tears’ left the crowd in a state of pure bliss.

If you loved the podcast, then you’re in luck because Satoshi’s travels take him to Baum in Colombia, Supperclub in Dubai and The Warehouse in Beirut in the upcoming week.

Read 

Satoshi in Fall

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After a busy summer of gigs in Europe, USA, Mexico and at festivals like Tomorrowland, house music hero Satoshi Tomiie is not resting in fall. His busy DJ diary takes him to Italy before heading home to Japan for a number of gigs, then to Honolulu, back to Japan and finishing up in Bali come the end of November.

 

 

2013-10-31   PUBBLIC CLUB – Corato, IT

2013-11-01   ICON – Mantova, IT

2013-11-09   MAGO – Nagoya, JP

2013-11-15   REPUBLIK – Honolulu, US

2013-11-22   VISION – Tokyo, JP

2013-11-23   TROOP CAFE – Kobe, JP

2013-11-29   THE TOWNHOUSE – Bali

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Popup Present!

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If you attended one of Satoshi Tomiie’s Popup parties in Italy, you might have been lucky enough to receive a special sticker offering you a present…

To get your Popup present, simply click the link below and enter in your login details when prompted. The username is popuppresent, and the password is the first word that appears on the sticker! (Be sure to pay attention to whether the word is UPPERCASE or lowercase…)

Click here to download your Popup Present DJ mix!

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Popup Tour Italy, Oct/Nov 2012

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Japan’s Satoshi Tomiie is set to play in a lot of small rooms in Italy over the next few weeks. The boss of SAW.RECORDINGS is about to embark on his first official Popup Tour following a couple of test Popup gigs in Tokyo and Rome earlier this year (check out the video from Rome’s Popup here).

Popup is Satoshi’s new party concept and it offers a unique dancing experience for clubbers. At the parties, Satoshi plays a special type of DJ set which contains many of his own productions that were designed specifically to be played only in small rooms.

Satoshi’s Popup tracks are a blend of bare bones house and classic analogue goodness, with beats as prominent as melodies. The raw grooves and simplistic musical elements are the perfect soundtrack for tearing up small underground dancefloors. Rhythms like his recent cuts ‘Momento Magico’ and ‘Backside Wave’ are good examples of the deep and groovy Popup sound, as is the acid trip ‘Straight Up’, and Satoshi’s electronic piano hit ‘Prism Vision’.

Satoshi’s first official Popup Tour begins October 20 2012, and will see the Japanese producer and DJ visit some of the best small dancefloors that Italy has to offer, including cute little clubs in Torino, Bologna, and Rome.

Satoshi Tomiie Popup Tour Dates

Italy Oct/Nov 2012

20 Oct
GIULIANOVA (TE)
NOVAVITA

26 Oct
AREZZO (AR)
KLANG CLUB

28 Oct (from 4AM)
MESTRE (VE)
TAG

2 Nov
VICENZA (VI)
T GALLERY

3 Nov
BRESCIA (BS)
VINILE 45

4 Nov
TORINO (TO)
CHALET CLUB – PARCO DEL VALENTINO

6 Nov
ROMA
CIRCOLO DEGLI ILLUMINATI

8 Nov
Prato (FI)
CLUB 999

9 Nov
BOLOGNA (BO)
WE LOVE INTERNATIONAL @ CASSERO

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Italian Radio DJ set

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I’m writing this from my hotel room in Rome, the night after my first ever Popup party. For anyone who doesn’t know, Popup is my new party concept where I play in small intimate rooms as a way to showcase my new sounds (I’ve been secretly building up a bank of new grooves for the past couple of years).

Last night’s Popup took place in a great little club called Circolo Degli Illuminati, and it was a really amazing party. About 400 people came down to dance with me, and I played all night for about five and half hours, taking them on a journey through deep, deep house, new melodies and rolling grooves.

I kept the pace slow, and played pretty much the whole night at 120 BPM which created a special kind of vibe. People seemed to really have fun! For a Tuesday night, the party was much crazier than I anticipated, and overall it was the PERFECT launch for Popup! I can’t wait for the next party.

I’m currently on a two week tour of Italy at the moment, and I’m really enjoying myself so I thought I’d give my fans a present! I recently recorded a one hour DJ set for an Italian radio station, and they broadcast it last week. Here is the set, so you can listen for yourself! The set includes one of my new tracks, Momento Magico, which will come out on SAW in the next few months.

Two more gigs to go on this Italy tour:

Friday April 13 2012
KING CLUB – Via Provinciale Pisana, 639/a – Livorno (LI) – Italy

Saturday April 14 2012
BLACK BUDDA – Via XII Ottobre, 182/Rosso – Genova (GE) – Italy

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Satoshi Tomiie’s Italy Tour: April 2012

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Italy is one of my favourite countries to DJ in. The crowd are always passionate and they really love partying, so I’m super excited about my tour of Italy this month.

I’ll be visiting Genova, Livorno, Torino, Terni, and Montesilvano, which are all great places to play at, as well as Rome, which will be particularly special as the capital will be hosting my first ever Popup party!

Here are the dates, and to my Italy friends, see you soon!

Friday April 6 2012
TOUCH – Via Vestina, 191 – 65015 Montesilvano (PE) – Italy

Saturday April 7 2012
ROTONDA DEL VALENTINO – Corso Massimo D’Azeglio, 11 – 10126 Torino (TO) – Italy

Sunday April 8 2012
QUEENCY – Via Del Sersimone, 9 – 05100 Terni (TR) – Italy

Tuesday April 10 2012
SECRET VENUE (POPUP PARTY) – Via Giuseppe Libetta, 1 – 00154 Roma (RM) Italy

Friday April 13 2012
KING CLUB – Via Provinciale Pisana, 639/a – Livorno (LI) – Italy

Saturday April 14 2012
BLACK BUDDA – Via XII Ottobre, 182/Rosso – Genova (GE) – Italy

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Introducing Satoshi Tomiie’s Popup Parties

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For the last few years Japan’s most successful DJ Satoshi Tomiie has quietly been working on new music, that it turns out, is perfectly suited to small rooms. As such in 2012, Satoshi will unveil all of his new work through a series of global intimate Popup parties.

Satoshi has secretly been building up a bank of new special grooves – raw, deep house music, analogue rhythms and free melodies – that he is finally ready to unleash on dancefloors. The Satoshi Tomiie Popup parties will give dance music fans a chance to get up and close personal with one of the greats of house music, and experience his new dance music vision.

Satoshi Tomiie will play all-night at the exclusive Popup parties, where his sets will feature his new and unreleased music. The parties will take place only in small venues. The first Popup will take place in Rome on April 10 2012.

“I’ve worked hard on new music for the last couple of years, and I can’t wait to finally unveil it all,” said the Japanese producer and DJ. “I’ve always enjoyed playing in intimate spaces but I don’t often get a chance to play them. This tour will give me an opportunity to showcase my new music at parties that are perfectly sized for my new sound.”

Due to the intimate nature of Satoshi’s Popup parties, the venues of the events will be kept secret from the public until only 48 hours prior to a Popup party taking place. Popup dates will appear sporadically on http://satoshitomiiepopup.com.

To coincide with the tour, Satoshi Tomiie will be releasing some of his new special grooves through a few select record labels. The first single from his new work, ‘Straight Up’, will be released on Systematic on May 12th 2012.

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Satoshi Tomiie Podcast #08 Live Set From Viña Del Mar, Chile

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This month’s installment of the Satoshi Tomiie Podcast comes from his live set at Viña Del Mar during his most recent South American tour. Satoshi delivered an unforgettable journey on the beach in Chile that kept partygoers wanting more during a seamless three hour set. His eclectic selection of underground tracks mesmerized the crowd and closing off the set by paying homage to the great Frankie Knuckles with ‘Tears’ left the crowd in a state of pure bliss.

If you loved the podcast, then you’re in luck because Satoshi’s travels take him to Baum in Colombia, Supperclub in Dubai and The Warehouse in Beirut in the upcoming week.

Read 
satoshi tomiie

Satoshi Tomiie Podcast #08 Live Set From Viña Del Mar, Chile

close

podcast-8

This month’s installment of the Satoshi Tomiie Podcast comes from his live set at Viña Del Mar during his most recent South American tour. Satoshi delivered an unforgettable journey on the beach in Chile that kept partygoers wanting more during a seamless three hour set. His eclectic selection of underground tracks mesmerized the crowd and closing off the set by paying homage to the great Frankie Knuckles with ‘Tears’ left the crowd in a state of pure bliss.

If you loved the podcast, then you’re in luck because Satoshi’s travels take him to Baum in Colombia, Supperclub in Dubai and The Warehouse in Beirut in the upcoming week.

Read 

Satoshi in Fall

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After a busy summer of gigs in Europe, USA, Mexico and at festivals like Tomorrowland, house music hero Satoshi Tomiie is not resting in fall. His busy DJ diary takes him to Italy before heading home to Japan for a number of gigs, then to Honolulu, back to Japan and finishing up in Bali come the end of November.

 

 

2013-10-31   PUBBLIC CLUB – Corato, IT

2013-11-01   ICON – Mantova, IT

2013-11-09   MAGO – Nagoya, JP

2013-11-15   REPUBLIK – Honolulu, US

2013-11-22   VISION – Tokyo, JP

2013-11-23   TROOP CAFE – Kobe, JP

2013-11-29   THE TOWNHOUSE – Bali

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My new iPad/iPhone DJ set up

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A lot of people have been asking me about my new iPad/iPhone DJ set up. So here is a video that explains all!

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Feature: Satoshi Tomiie’s new studio

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Saw Recordings’ Satoshi Tomiie recently finished building his dream studio in his apartment on Wall Street in New York City. With the new studio now fully operational, the house music veteran plans to release a plethora of new music in the coming months. We sat down with Satoshi to find out more about his new production base.

Tell us about your new studio.

It took me four years to build it. The reason it took so long is because I built the studio in my new apartment, and there was a lot of paperwork to do. I’ve never liked commercial studios and it was always my dream to build a studio in my apartment, so I could roll out of bed and produce music all day in my pajamas if I wanted to!

I’m really happy it’s finally finished! The studio is small but its dimensions were calculated exactly for acoustic perfection. I hired a studio designer to build it for me. He has built studios in NYC for 25 years, and his knowledge and expertise was amazing.

A studio inside your apartment sounds dangerous for your neighbors! Is it soundproofed?

We did our best to soundproof it. It’s completely self-contained, and because it’s a room within a room there’s a gap between the two walls which means not that much sound gets out. And the floor is floated on rubber feet, so the bass doesn’t travel at all and that’s the most annoying frequency for neighbors.

What gear have you got in there?

I’ve got a 55-inch TV monitor. I have a pair of Yamaha NS10 monitors and a pair of Adam S3A speakers with a sub. I’ve produced beats on the NS10s for years, so my ears are very tuned to their sound. I’ve been recommended Neumann speakers in the past, so I’d like to try out those sometime too.

Hardware wise, I’ve only got two synths in the studio. One is a Roland SH-101, which is a really simple analog synth that doesn’t take up a lot of space, and that’s really my go-to synth for writing quick basslines and melodies. The other is a Moog Voyager.

I use Ableton Live to write and arrange tracks, and then Pro Tools to mix it down. I know a lot of people who use Logic for everything, but Ableton works for me and I’m really used Pro Tools.

So these days you’re a plug in driven producer mainly – name some of your favourite plug ins.

My main plug ins come from Waves, and for instruments I’ve got some Arturia plug ins, including the Moog and ARP emulators. Native Instrument does some pretty cool stuff – I have their whole collection which is really great when you’re looking for a particular instrument.

Any caveats about the software approach?

I’ve noticed that if you have too many plug ins and sound choices, you spend too much time looking for a sound, when you should be spending that time creating and writing music. Also sounds and plug ins tend to move in trends in dance music, which is something I always try and avoid.

What do you mean by trends?

Even things like synth patches are affected by trends, and you’ll hear a whole lot of new music come out around the same time that all use the same patches. So it’s best not to jump on new patches and plug ins when they first come out. Things have definitely become so much easier with digital, but on the other hand there are too many choices for the producer today, and that includes plug ins.

(Words: Terry Church)

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Satoshi Tomiie Podcast #08 Live Set From Viña Del Mar, Chile

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This month’s installment of the Satoshi Tomiie Podcast comes from his live set at Viña Del Mar during his most recent South American tour. Satoshi delivered an unforgettable journey on the beach in Chile that kept partygoers wanting more during a seamless three hour set. His eclectic selection of underground tracks mesmerized the crowd and closing off the set by paying homage to the great Frankie Knuckles with ‘Tears’ left the crowd in a state of pure bliss.

If you loved the podcast, then you’re in luck because Satoshi’s travels take him to Baum in Colombia, Supperclub in Dubai and The Warehouse in Beirut in the upcoming week.

Read 
satoshi tomiie

Satoshi Tomiie Podcast #08 Live Set From Viña Del Mar, Chile

close

podcast-8

This month’s installment of the Satoshi Tomiie Podcast comes from his live set at Viña Del Mar during his most recent South American tour. Satoshi delivered an unforgettable journey on the beach in Chile that kept partygoers wanting more during a seamless three hour set. His eclectic selection of underground tracks mesmerized the crowd and closing off the set by paying homage to the great Frankie Knuckles with ‘Tears’ left the crowd in a state of pure bliss.

If you loved the podcast, then you’re in luck because Satoshi’s travels take him to Baum in Colombia, Supperclub in Dubai and The Warehouse in Beirut in the upcoming week.

Read 

Satoshi in Fall

close

After a busy summer of gigs in Europe, USA, Mexico and at festivals like Tomorrowland, house music hero Satoshi Tomiie is not resting in fall. His busy DJ diary takes him to Italy before heading home to Japan for a number of gigs, then to Honolulu, back to Japan and finishing up in Bali come the end of November.

 

 

2013-10-31   PUBBLIC CLUB – Corato, IT

2013-11-01   ICON – Mantova, IT

2013-11-09   MAGO – Nagoya, JP

2013-11-15   REPUBLIK – Honolulu, US

2013-11-22   VISION – Tokyo, JP

2013-11-23   TROOP CAFE – Kobe, JP

2013-11-29   THE TOWNHOUSE – Bali

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How to write dance music part 3: Drum loops, percussion and melody

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New York house hero Satoshi Tomiie continues his dance music production tutorial series, with another insightful and educational lesson. This time the boss of SAW Recordings, who has produced electronic music since the late 1980′s, covers drum loops, percussion and melody.

Part 1 and Part 2 of your tutorial series covered kick drums and bass. Why do you always start writing your tracks with a kick drum and a bassline?

I get inspiration from a bassline and a good kick. I can’t just come up with hooks like a singer/songwriter. I usually start my tracks there, and then see how it goes.

Maybe it’s because I’m a DJ, but that’s how I produced from day one.

So what comes next?

Now comes the fun part! Actually, all of it is fun for me, but this is the part when your track really comes together.

After I’m happy with my bass and kick drums, next comes the other drum elements. Usually that will be some kind of hi hat, clap, and snare. I don’t go too crazy programming the drums at this stage as I think it’s important to leave some room to play later on.

Once I’ve got a basic drum arrangement looping, that’s when I’ll begin to add in percussion hits, and sometimes, percussion patterns.

By working this way, the idea is to try and build a basic groove with the drums and bass first, and then start slowly building your track up on top. If you have good foundation with the bass and kick drums, building a track up is usually fun and it will flow well. If you don’t have the right basic foundation, you will have a problem building up a track, and you’ll have to go back and rebuild the foundation again from scratch.

What do you do after you have a basic drum, percussion and bass loop going?

After the drums, bass and percussion, comes the keyboard parts and synths. It’s difficult to give advice about hooks or melodies as not all dance tracks have hooks or melodies and a lot of tracks today are more like drum tools – effective without being musical.

The hook is also probably the most difficult part of a track to write, but if you want melody in your dance track, it’s best to start programming it early on, around the same time that you’re building the kick drums and bass. Otherwise later you will find that there isn’t enough room for it to do its work.

Also, sometimes you just don’t need a melody. Dance music is designed to move people, and often you can be just as effective on a dancefloor by using really tight beats and a killer bassline. Sometimes a hook sounds too much.

What sort of synths do you use to write melody?

When I write melodies, I tend to use a different synth sound every time as I don’t like to repeat what I’ve done before. Inspiration can be limited for me if I use the same synths over and over. Some producers like to have their synths set up like a band – they always use the same synths and settings for every song – but unfortunately I can’t work like that. If I could, I could probably write my tracks 20 times faster!

I use the same kind of synths that I mentioned in my bass tutorial. I also sometimes use samples, like for instance piano samples – I’ve got some awesome ones of an actual electric piano. I also have a real Fender Rhodes electric piano but it’s quite bulky and takes up a lot of space in my studio so I don’t use it that often.

A lot of dance music producers aren’t classically trained musicians, but most will know that keys are important. What can you tell us about them?

In terms of keys, I like using flats as I think they sound better for dance music than sharps. My favourite keys are ones like C Minor, F Minor, G Minor, and B Flat Minor.

A lot of people have asked me in the past about tuning – how to tune your drums to a key, and I always tell them that it isn’t that crucial. If you strike a metal object, generally it doesn’t have a melodic pitch, at least not so much of a melodic pitch as to be recognisably melodic. Percussion for the most part has a pitch that is so unclear that you can get away with it on any key.

Of course, you have to use your ears – if something sounds like a key clash, you might have to pitch it up or down to make it fit better into the main key of a track. Sometimes the ambient noise of a drum loop will have a pitch, so that’s when you might have to pitch your drum loop up or down to make it fit better.

Also, sometimes it’s actually good to have something out of key too, like for instance, if you want to draw attention to a particular percussion hit.

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How To Write Dance Music Part 2: “Bass”

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In June, New York DJ/producer and Saw Recordings boss Satoshi Tomiie kicked off a new series of music production lessons with a note on the importance of ‘kick drums’.

Here in part 2 of his guide on how to write dance music the veteran house music producer discusses that most crucial element of club music: bass.

Let’s talk bass.

Bass is probably the most important part of a dance music track. Bass is a really important part of a song in general. It is fundamental along with the rhythm.

Since electronic music is played in an environment where bass is emphasized and music is played very loud, you generally hear bass with your whole body. Without a good kick drum or a killer bassline, your experience in a club would be much less enjoyable.

Since we listen to electronic music so loudly, it’s important that bass is placed in exactly the right way.

What are the rules?

Bass should always try to work in tandem with the drums and percussion, as the rhythm section is the foundation of a track.

For the relationship to work between bass and drums, it has to work in drum patterns. In the past, bass worked sometimes with the melody section of a song, but in recent times as bass sequencing has become more advanced it has become more used as a tool for working a dancefloor.

So bass should talk to your drums. It’s kind of like a harmony, not between notes, but it terms of timing and placement. Sonically as well, bass has to fit with the drums and percussion, and sound treatment, such as EQ and compression, is important here.

How do you create the perfect bassline?

There are so many ways to work with bass. I prefer to play my bass by hand. Some use a computer and a mouse to place bass notes on a sequencing grid. Others use arpeggiators. It’s really the choice of the producer.

How do you play bass “by hand”?

I use my fingers and a keyboard. Once I’ve picked my kick drum for a track and I’m happy with it (see Satoshi’s guide to creating the perfect kick drum) I play around with the sound and pattern of my bass on a keyboard.

It’s all about finding the right placement for the bass. Its relationship to the kick drum is very important as they occupy the same frequency range and if you’re not careful they can cancel each other out.

Sometimes the bassline can be the hook of the song, sometimes it’s really the support act. I don’t plan the process of my productions, I just go with the flow and sometimes basslines become melodic, and sometimes they are just sub notes.

You can also use multiple basslines to work together, but that’s not easy as you need to find the right balance. One tip – try marrying a mid range bass to a sub bass. That can work nicely.

When bass and kick drums play together you have to ensure that they don’t sonically cancel each other out, so you have to really play with the phases of the bass – where it peaks, where it dips, so it doesn’t ruin the kick drum. Ultimately though, you have to judge with your ears.

What do you mean by the bass and the kick drum can “cancel each other out”?

If you play a kick drum or a bassline by themselves, they sound fine. But sometimes when you play them together, you lose some of the bass due to a weird phasing effect.

Back in the days of vinyl, a record could actually sometimes skip due to the producer using stereo bass (for vinyl cutting purposes, it’s better if bass is in mono). The needles just couldn’t handle the phasing.

Interestingly, if you have perfectly out of phase bass, then you hear no bass at all. Sometimes you come across the occasional DJ booth where they have miswired the monitors and no matter how loud you turn it up you get no bass. That’s why I always go to soundcheck.

If you have a sub woofer in the studio, you might want to play around with the phasing switch at the back of the sub, as sometimes your sub bass actually takes the bass out of your studio due to the same reason.

Let’s talk gear. What equipment or software would you recommend for creating monstrous bass?

Over the years I’ve used a lot of gear. Keyboards wise, first there was the Roland MKS-70 aka the Super JX, which is the rackmount version of the JX-10.

I also still have a Roland JX-8P at my parents’ house which was one of my first ever synthesizers. Back in the early days of house Marshall Jefferson used that one a lot. His signature bass and pad sound actually came from the JX-8P.

I was so excited to find this machine because by the time I had even began making music this synth was already discontinued.

For my track ‘Tears’, that I made with Frankie Knuckles in 1989, I used the MKS-70. I still have the patch for that track at home.

I have to mention the Roland SH-101 too. I’ve got a Roland Juno-60 which I have used for a long time. The Roland Jupiter 8 is amazing but it’s massive.

I like my set up to be like an aeroplane cockpit, so I can reach everything without moving too much, so the Roland SH-101 is perfect.

For bass I like to have knobs and sliders to tweak a sound. The SH-101 is really fun to play with. These are the main machines that I’ve used over my career.

I always wanted a MiniMoog but I could never afford it so I only ever got to use one when I hired a studio. Eventually I bought a MiniMoog Voyager which combines the classic MiniMoog sound with the convenience of MIDI. I love it, it’s so phat!

So much of your music was made on hardware. What do you think of all the software that producers use today?

Let me tell you a story. Finnish producer Sasse, who runs the respected Mood Music label in Berlin, is known for his love of hardware, analogue gear, and synths. But when I met him he says that even though he owns all of that stuff, he still tends to use the digital emulators when he writes music.

He will only use the real, physical synths if he feels that the digital version isn’t as good. Very occasionally soft synths do not sound as good as the real thing, but a lot of the time, they do.

It’s nice to have everything analogue in your studio, but I remember the days of total recall and it was a pain in the ass. Mixing out of box is not as bad as it used to be.

What soft synths are you fond of?

Arturia’s plug ins are good for bass. Native Instruments’ FM8 is also good for bass, and at the moment that seems to be a ‘trendy bass’.

When choosing soft synths, I think it’s important to choose ones that are emulators of a real bass synthesizer. Arturia’s stuff is all software versions of real instruments.

I’m trying to go down the software emulator route. They’re not exactly the same as the hardware versions, but they’re good enough.

The fact is, physical synths are fun and awesome but they are quite annoying to use sometimes as you can’t recall sounds that you were working on previously and have to start all over again. But that’s what happens when you use circuits and wires to create electronic sounds.

Does EQ play an important role in bass?

I try to create bass that sounds good enough without any EQ effects so that I don’t have to go crazy later on with EQ.

Try to make your bass sound as good as possible without EQ. Sometimes bass can actually be too bassy, so a lot of the time I will use EQ to take away some bottom end if necessary.

My way of using EQ with bass is not to change the sound, but more to polish it. Sometimes you can’t tweak bass but you can add a little more bottom end or mid end. I only tweak the EQ when it is needed.

You said earlier that bass and kick drums have to work in tandem so as to not cancel each other out. Should bass be EQ’d above or below a kick drum?

A good tip is to peak the bass EQ and move it around the frequency range to find the sweet spot. Use your ears to find where it is most potent.

Also bass usually moves around the frequency range, whilst a kick generally stays at the same frequency.

You have to listen to both therefore, and tweak the EQ of both to avoid clashes. Sometimes I have to replace my kick drum as I find it doesn’t work with my bassline anymore.

One other thing – you can sample bass, but it is much better to control it with a synthesizer as EQ can only change so much. It’s about building the right sound from scratch rather than mashing an already existing sample into a hole it won’t fit.

Why is compression important for bass?

You need some experience with a compressor before you use one as it’s not the easiest thing to play with. It depends on the sound of a track, but generally bass improves with compression.

Sometimes after you’ve built a bassline in a track, one section will sound louder and one section will sound quieter. Compressors fix that problem – they equalize the level so it moulds better into the song.

Again you have to use your ears and must know what you’re doing. There is no universal rule for compressing bass. You have to discover when to use it.

I pretty much compress everything. Sometimes light, sometimes heavy, it depends on the sound. Some stuff doesn’t need compression at all. The universal rule in the studio is experiment and find your own way of using compressors.

What compressors do you use?

Actually my favourite just changed recently. My favourite is 6030 Ultimate Compressor, made my McDSP. This basically emulates a classic compressor, it sounds amazing, and is very easy to use. It’s also not very heavy on the processor so you can use a lot.

When choosing the right bass sound, there are often sound wave options, such as SAW or Square waves. Which one is best for club music?

Any sound wave works good for house music bass. SAW waves or square waves are the basic ones. Oscillators in modern synths can actually change anything into anything so it doesn’t matter too much which one you begin with.

Finally, how do you create a bassline that you can feel?

In clubs you feel sub bass. You can’t hear it though, but you can hear the highest frequency of a sub bass sometimes, which is the melodic part.

If you listen to a sub bass unit by itself, it’s just a muffled sound, you don’t really hear anything. Together with the music however, you can feel the bass.

Here’s an interesting fact about MP3s. In order to reduce file size most of the time MP3s actually remove frequencies below 10HZ and over 20KHZ. So MP3s lose their super sub bass and super highs. Human ears don’t just listen to what comes out of the speakers, they also hear things that you don’t consciously hear.

It’s like the same with dog whistles. Those high frequencies over 20K you can’t hear but they still affect you. MP3s get rid of those super high and super low elements to reduce file size, and that alters the sound. If I could, I would only play uncompressed files.

(Words: Terry Church)

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How to write dance music: the kick drum

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Meticulous house producer Satoshi Tomiie is well known for his attention to detail. Ever since his magnificent debut single ‘Tears’, the 1989 house classic that he produced with the ‘Godfather of House’ Frankie Knuckles, Satoshi Tomiie’s name has been synonymous with carefully crafted house goodness.

In a new series of interviews exclusive to Satoshi Tomiie’s Facebook page, the New York City producer, DJ, and label owner will share some studio tips, thought processes, and production tricks that he has acquired during a music career that stretches over 20 years.

Here in part one, Satoshi starts with that most basic element of dance music: the kick drum.

Where do you begin, when writing a new track?

I always start with the kick drums. It’s about finding the right sound firstly, and then changing that sound and tweaking it continuously, whilst you produce the music for the track.

The kick drum is the foundation of dance music, so this is the part that I spend the most amount of time on.

That’s quite surprising, that you always start with the kick drum.

I don’t have a formula for writing music, but basically, the kick and bass is the bottom foundation of a dance track and it always has been.

Back in the day, the kick originated from a drum machine, like the Roland TR-909 or 808 and slowly it moved into the sampler. The technology has changed, but really it’s still about the kick.

Is there really that much difference between one kick and the next?

Actually the tone of a kick drum changes quite significantly according to the vibe of a song. For example, if you take the kick from a rocky alternative track, and swap it with the kick from a techno track, the vibe of both songs will change completely. The aim is to find the appropriate kick drum for the song.

How many kick drum samples do you have?

I’ve collected countless samples of kick drums over the years. I try to not use the same kick drum more than once.

Why not?

If you use the same kick drum, the inspiration that you get from it can be limited. I’m always looking for new kicks. In fact, you could say my whole career has been about searching for the perfect kick drum.

Where do you get them from?

Sometimes I sample a kick from a record or a sample CD. Sometimes I’ll mix two kick drums together to create a new one, but that gets tricky as two different kick drums on top of each other can actually make the whole kick sound smaller as they cancel each other out.

It’s called phasing. The same thing happens if you wire a pair of stereo speakers backwards. It basically cancels out the bottom end. So when you layer kicks you have to tweak the phases on one kick drum so you feel both simultaneously.

So you’ve got your kick drum sorted, what’s next?

Well as I mentioned earlier, I continually tweak the kick whilst writing a track. Sometimes I will switch a kick half way through writing a track, or even when I’ve finished a track if I feel it’s not quite appropriate. I always go back and forth between the lower foundation of a track and the mid-range musical part, as well as the high end hi hats. It’s a balance really.

My tracks usually develop pretty organically. I will get the idea for how the track will go, as I write it. That could be a lead or a bassline, or the lyrics – it all happens when I write it.

Like sometimes I will set out wanting to write a deep house track, but the writing process will end up leading me to something else.

Why is that?

Some producers can easily adjust the style of music they want to do – you always hear of producers who just copy what’s currently hot. I can’t. My music just happens. Also, some people change their engineer when they want to change sounds, but because I do everything myself I can’t do that.

So your music happens quite naturally. Where does it lead after the kick drum?

After the kick, I put a beat together by adding snares and hi hats to build a loop. This is the easiest part for me.

It’s about finding the right sounds to go with the kick, and the right breaks too.

How long are your loops generally?

I tend to stick to a four bar or eight bar loop first, and then I will make the arrangement later. You’ve got to prepare your ingredients before you can cook, and to me, arranging a track is the cooking part.

Part two of Satoshi Tomiie’s guide to writing dance music will be on his Facebook page soon.

(Words: Terry Church)

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Satoshi Tomiie Podcast #08 Live Set From Viña Del Mar, Chile

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This month’s installment of the Satoshi Tomiie Podcast comes from his live set at Viña Del Mar during his most recent South American tour. Satoshi delivered an unforgettable journey on the beach in Chile that kept partygoers wanting more during a seamless three hour set. His eclectic selection of underground tracks mesmerized the crowd and closing off the set by paying homage to the great Frankie Knuckles with ‘Tears’ left the crowd in a state of pure bliss.

If you loved the podcast, then you’re in luck because Satoshi’s travels take him to Baum in Colombia, Supperclub in Dubai and The Warehouse in Beirut in the upcoming week.

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Satoshi Tomiie Podcast #08 Live Set From Viña Del Mar, Chile

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podcast-8

This month’s installment of the Satoshi Tomiie Podcast comes from his live set at Viña Del Mar during his most recent South American tour. Satoshi delivered an unforgettable journey on the beach in Chile that kept partygoers wanting more during a seamless three hour set. His eclectic selection of underground tracks mesmerized the crowd and closing off the set by paying homage to the great Frankie Knuckles with ‘Tears’ left the crowd in a state of pure bliss.

If you loved the podcast, then you’re in luck because Satoshi’s travels take him to Baum in Colombia, Supperclub in Dubai and The Warehouse in Beirut in the upcoming week.

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Satoshi in Fall

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After a busy summer of gigs in Europe, USA, Mexico and at festivals like Tomorrowland, house music hero Satoshi Tomiie is not resting in fall. His busy DJ diary takes him to Italy before heading home to Japan for a number of gigs, then to Honolulu, back to Japan and finishing up in Bali come the end of November.

 

 

2013-10-31   PUBBLIC CLUB – Corato, IT

2013-11-01   ICON – Mantova, IT

2013-11-09   MAGO – Nagoya, JP

2013-11-15   REPUBLIK – Honolulu, US

2013-11-22   VISION – Tokyo, JP

2013-11-23   TROOP CAFE – Kobe, JP

2013-11-29   THE TOWNHOUSE – Bali

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How to travel like a DJ!

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I fly all over the world for my DJ gigs. In fact, I think I spend more time in planes than I do in my own bed! Over the years I’ve learnt quite a lot about flying, so I thought I would share some of my travel “wisdom” with my fans (and for my own amusement).

I hope you find my top 10 list of tips on how to travel like a DJ interesting/insightful/funny.

1. Don’t check in bags. Ever. And never buy expensive luggage.

Like most people, I used to pack a big suitcase full of clothes for my DJ trips. And then one December day, after a decade of not too much hassle Alitalia lost my bag for three weeks.

They returned it to me in New York soaking wet and full of my nice clothes, all ruined. That’s when I decided never to check in a bag ever again.

When you fly as much as I do, and travel for as long as I do, that’s not an easy choice to make. The European DJ tour that I’m on right now is over a month long, and a month is a long time to live out of your hand luggage.

But I think it’s simply not worth the financial risk or ball ache. One time an airline returned my $750 suitcase to me in a jar. I exaggerate of course, but basically the inside of the bag (see above) was burnt, as though midway through the flight the pilot had got bored and decided to test his new cigar lighter on the inside of my bag. That time, the airline compensated me with a generous $100 after a two week phone battle with their customer service.

So if you’re thinking of splashing out a nice Louis Vuitton luggage set, think again. If you do have to check in your bag (like for instance, when you’re flying budget), remove some essential items so you can survive a day or two without a bag.

2. Have multiple hard drive back ups.

Vinyl is gone, and so too is the back pain caused by lugging dirty great big record bags across the oceans. That doesn’t mean however, that digital DJing is foolproof.

Far from it. Before if you lost your record bag, you’d only lose 50 or 75 records – heartbreaking, but not the end of the world. But now if your laptop blows up, you can lose your entire music collection. So always have a back up.

I go the extra mile. When I’m on the road, I have my laptop and two further back up hard drives which I leave in my hotel room safe.

The back ups are important. One time in Ibiza my bag was stolen but because I had a back up I could still play that night.

I also have two further hard drive back ups at home, so that if the shit seriously hits the fan, at least I know my precious music is secure back in New York, far away from the current danger.

Another tip: have an exact replica of your system hard drive because if your internal laptop hard drive fails (which has happened to me two times on the road), you can simply swap them over without crying too much.

3. Downsize your headphones.

One of the most annoying items to carry on a flight has to be DJ headphones. Their awkward shape and brittle nature makes neat packing your hand luggage a bit of a nightmare. Even the ones that fold up, resemble a fist shape when folded – hardly ideal for space saving.

None of that affects me though because I use in-ear monitors to DJ with. Mine are made by Sensaphonics and they are custom moulded so they fit perfectly in my ears. In the right ear I use a custom moulded -15DB ear plug, and the left one is my custom moulded monitor.

That saves me a lot of room as they come in a little pouch about the size of an iPhone. The only downside is, I can’t hold my headphones in the air like a gladiator. I can however, swing mine round and round like a lasso.

4. Never take the last flight of the day.

Missing a gig due to a flight cancellation has to be one of the poorest DJ excuses, but it happens all the time. That’s why I never take the last flight of the day if I have the choice, because if your flight is cancelled, you can always take the next one.

5. Leave two hours between connection flights.

Frequent fliers will know all too well the pain caused by a delayed first leg of a journey. If you’re unlucky, a delayed flight can cause you to miss multiple connections and your gig. So I always make sure to leave between two, and two and half hours between connection flights.

It does mean you’ll be waiting around in airports for longer if your flights are on time, but that’s a way better scenario then going home having never played one beat.

6. Take the window seat.

DJs sleep less than anyone. That’s why I always insist on having a window seat, so I can lean against the plane window and catch up on some shut eye. Every minute counts.

And you won’t have anyone impatiently prodding you on the shoulder asking you to move because they need a leak, as you will be THAT guy.

7. Always take your electronics with you.

A DJ can survive without food for weeks. A DJ can survive without water for days. A DJ cannot survive without Facebook, Twitter or Beatport.

8. Mornings at the airport suck.

For some reason, airports in the morning suck. It’s like people’s holiday time is so important that they have to book the first flight out of airport to maximise the amount of time they spend away from home. And businessmen always like to brag about that important 9AM meeting they have 1000 miles away.

So airports in the morning are always rammed. Us DJs are night creatures however, and do not have to concern ourselves with the pitiful travel circumstances of daylight beings. I always take the relaxing, half full afternoon flights when I can.

9. Pick the right security line.

This one comes straight out of the film Up In The Air. To save time at the airport, always pick the right security line.

There’s nothing worse than being stuck behind a family of screaming kids as a child’s pram is inspected with a fine tooth comb for traces of explosive.

Also avoid large groups of drunken people traveling together, old people (they move slowly in general), and babies.

Aim for travelers on their own, businessmen (they rarely get hassled), and Asians (yep it’s true, we really are just more efficient).

10. Begging works. So does lying.

Every DJ has been here. Your first flight was delayed, so you have to run from one terminal to another to catch your next flight. Your name is read out over the public address system. You drop your bag spilling hundreds of foreign coins out in all directions across the marble floor. You finally make it to your gate sweating and grunting, only to find that your flight is closed despite you making it just in time.

“But I can still see the line of people walking into the plane,” you sob at the gate attendant.

“I’m sorry sir, that flight is now closed. You’ll have to take the next flight.”

“But please, it wasn’t my fault. My previous flight just landed, and I came straight here.”

“I’m sorry, you’ll have to take the next flight sir.”

Now at this point most people would just throw a tantrum, and to be fair, you probably deserve one. However in my experience, I’ve learnt that reasoning with a gate attendant, and then begging, does actually work. All it requires is for you to explain that you’re a DJ heading off to play a charity gig to help raise money for starving children in Africa, and they usually let you through.

Special Extra Tip: Get Tripit

There’s an awesome iPhone app called Tripit that does a great job of organising all your travel itineraries. They charge an online fee, but it’s well worth it. No more messy emails and lost hotel confirmations.

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Feature: Satoshi Tomiie and his love for Latin America

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Satoshi Tomiie recently completed a four week DJ tour of Latin America. Here in this exclusive monologue for Facebook, the label boss of Saw Recordings shares his DJ thoughts on the continent which, he says, is his favourite place in the world to tour. He also shares three big tunes that rocked his tour.

“Latin America is a very exciting place for travelling and DJing. I like its chaotic big cities, as they are always bustling.

From a DJing standpoint, the Latin American people love their electronic music and you always get a really good energy from the dancefloor.

I feel there is more give and take between the DJ booth and the dancefloor in Latin American nightclubs. I’m not sure why this is, perhaps it’s something to do with their unique culture. Latin America is a wild mix of peoples and cultures, and whenever cultures mix something interesting happens.

I’ve been going to Latin America for about 10 years as a DJ. Every year I return, the scene seems bigger and bigger. When I first went to Latin America, the scene was good, but it was still quite localised. Now it feels like a major continental movement. More and more people have got into electronic music in Latin America, and the opportunities for touring have increased a lot.

Argentina probably has the “most advanced” electronic music scene in the region because they’ve been into the music longer than all the other places. They also put on the biggest electronic music festivals – the Buenos Aires events are particularly spectacular.

Brazil also has a vibrant dance music scene, and it is probably the fastest growing one in Latin America.

There are also relatively new markets like Columbia and Guatemala which are fast changing. These countries are experiencing the same electronic music boom that has happened in many other countries across the world over the last 20 years.

Musically, Latin America is quite a different place compared with the rest of the world. Argentina especially, has its own sound and way of the dancefloor. In Argentina, they really appreciate deeper music so I can even play music at 122 BPMs in an arena for 5000 people when I start my set.

When I DJ, I love to start deep and build my set, but often I have to hold back as the bigger crowds require a higher energy. In Latin America, I can truly play whatever I want, regardless of how large the crowd is.

They go nuts for this music. The first time I played there it was like an epiphany. It felt like I was playing on a blank canvas, where you could experiment with sounds, and play incredibly deep music and slowly build your set over many hours.

It’s hard to not overstate how good this is for the DJ. For instance when I headline clubs in other countries, I generally have to start my set in third gear. There is always a warm up DJ before me, and by the time I begin my set people are already pumped up, and raring to go.

In Argentina though, I can build my set from first gear. Warm up DJs really understand how to warm up. Over the course of the night I then slowly shift up. That makes a huge difference to me as an artist. The open mindedness of the crowd in Latin America comes down to one simple fact: they truly value the journey of sound that DJs are capable of creating.

Every time I tour Latin America something crazy happens. This time, it was a volcano in Chile that caused me to miss two gigs (I told you Latin America was chaotic).

Some volcanic ash (check out the amazing photo!) prevented me from flying to Bolivia and Sao Paolo, so I ended up staying a few extra days in Buenos Aires. Of course, there’s nothing you can do about those kind of situations.

I was actually lucky to get out of Buenos Aires in the end to make at least one gig in Brazil. Then I managed to fly to Chile a few days early for my gig there, to avoid all the volcanic ash problems around Buenos Aires. Above & Beyond, Kaskade, and the 16 Bit Lolitas all played on the same night which was different and fun. It doesn’t happen very often that I play alongside DJs like that.

Earlier on in the tour, I also managed to visit my favourite place in the entire world – Los Roques island. This is paradise for me. If I wasn’t a traveling DJ, I would never have found out about this amazing, off-the-beaten-path place.

Gigs wise, every one was quite special this time. The first gig in Venezuela was really good, and the two parties in Argentina were amazing. I played Pacha (now called Club Land) in Buenos Aires too, and as any DJ will tell you, it’s an extraordinary club to play.

The Brazilian party was fun too. The crowd was insanely good looking, as always. I don’t know how they do it, but Brazil always seem to have a gorgeous crowd. I was a little worried about what I would have to play, as really good looking crowds tend not to be hardcore electronic music fans, however I didn’t have to compromise on my music at all, amazingly.

My final gig in Guatemala was a great way to top it all off. And by the time I was on my a flight back to New York City I was already thinking about my next Latin American tour!”

(Interview by Terry Church, club photography by Agustin Carri Pérez)

Satoshi Tomiie’s Top 3 Latin American Tunes

Satoshi shares three dancefloor bombs that rocked his Latin American tour.

Deetron ‘Starblazer’ Rejected

It seems this has become a big summer tune. It has been in my sets since I got it, and it works everywhere I play it. It will be in my set all summer long probably.

Shlomi Aber ‘Slow Dancer’ (Wink Remix)

Another amazing Josh Wink work out. The arrangement is really impressive and towards the end of the song, he changed the vibe into something more musical – you can really listen to this outside of the dancefloor.

Frankie Knuckles Pres. Satoshi Tomiiie Feat. Robert Owens ‘Tears’ (Dyed Soundorom Revisited)

I’m not 100% sure if Dyed Soundorom did this remix himself, but I was hanging out at a party in NYC with all my friends and he played one track that sounded very familar. It was this. And I told him I needed to have it. Whoever did the remix, they did a really good job. They updated the original, but they still kept the classic vibe. They rearranged the structure and added some new beats. It was really cleverly done.

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Satoshi Tomiie & Hector Romero talk 10 years of Saw Recordings

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When Satoshi Tomiie and Hector Romero launched their New York City label Saw Recordings in 2001, they had simple aims. “The idea was to make an imprint so I could release my original productions, plus introduce new music from up and coming producers,” explains Satoshi. “Ultimately, we wanted it to become a home for quality dance music regardless of genre.”

In a scene that moves as swiftly as electronic music, it’s impressive that a decade on Saw Recordings is exactly what its founders hoped it would be. With a relatively compact discography of 78 releases, the imprint epitomises the mantra, somewhat lost in today’s digital music universe, that quality not quantity matters.

As such, Saw has become a champion for new dance music talent. Many of today’s most respected underground producers started out on Saw, including Jim Rivers, Guy Gerber, Audiofly’s Anthony Middleton, and Luca Bacchetti.

Even though the label has seen some major changes, including the rise of digital and the fall of vinyl, it has always remained true to its aims. “When we started out 10 years ago, we were pretty much a vinyl label,” says Saw’s co-founder Hector Romero. “Nowadays we’re a digital only label and like everyone else, we’ve had to change with the times, but we’re still about promoting great music and new artists, and building a brand. For us, it was never just about selling music.”

Saw Recordings’ 10th anniversary release ‘Edizione’ is a perfect example of the label’s continued commitment to new talent. With seven quality club cuts from new and experienced Saw artists, the extended EP is like a gallery for underrated electronic music heroes.

“Many of the producers featured on ‘Edizione’ are new, and all of them are really hungry to grow and gain exposure,” says Hector Romero. “They are Saw’s most important artists, and all of them are proper talent with good futures ahead of them.”

Satoshi Tomiie came up with the EP’s title during a dinner in Rome, as he explains, “We had a great bottle of wine called Edizione, which someone explained, was a mixture of all these various grapes, that when combined, tasted amazing. We had been searching for a title for the 10th anniversary EP, and it just made sense.”

Romero oversees A&R duties at Saw and was tasked with finding the tracks for ‘Edizione’, a process that took about six months. “A&R is what I love to do,” he says. “I love sitting at my computer and going through tons of promos and listening to the links that people send me. A&R is about finding that needle in a haystack, and when you do find that needle, it feels great.

“The haystack is so huge these days of course, but it has to be done. When Satoshi is cooped up in his studio working on music, I spend my time listening to all the promos that we get sent, and I try to respond to every producer who sends us their stuff.”

Part of the concept of ‘Edizione’ was freedom, as Satoshi explains: “Once we had found the producers that we wanted for the EP, we tried to be as open and free as possible. We didn’t want to restrict them by giving them a certain sound or feeling to reach in the studio, instead we gave them the freedom to do whatever they wanted for the release.”

The resulting record is a melting pot of uncompromising, underground club music. There are moments of techno awe (Toby Tobias), raw house grooves (Mabaan Soul), a punchy progressive/techno hybrid (Doomwork), blissful deep house (Matt Masters), hynotic, acid-infused melodic techno (Matthias Heilbronn and Joeski), and proper, four-to-the-floor NYC house (Mes and Mabaan Soul).

‘Edizione’ sums up the label’s approach in 2011 perfectly. In fact, it encapsulates Saw Recordings’ attitude towards music in general. And as cheesy as it sounds, it is heart warming to know that a decade on it is the label’s passion for quality dance music – above all else – that drives it into the future.

‘Edizione’: Track By Track

Saw Recordings’ Hector Romero guides us through the label’s 10th anniversary release.


Toby Tobias ’5AM’

This track was actually produced about three or four years ago. We had always really liked it, but were never sure about when to release it. We got in touch with Toby Tobias to ask it it was still available, and he did a special re-edit which we loved.

It’s one of those nice deep tracks that works just as well at an afterhours as it does early on in a set. I knew we had to have it, because there have been multiple times in the past when the track has come on on my iPod, and it was so good, I stopped what I was doing to find out its title.


Matthias Heilbronn, Joeski ‘My Fix’

Joeski and Matthias have been around in NYC for a few years now. They’re both great DJs, and Matthias is a great house producer. They recently started collaborating on some great music, and ‘My Fix’ is very old skool Chicago style with spoken words and a very trippy feel.

I fell in love with the track right away. We released this as a single in January, and it did very well so we felt it deserved to be in ‘Edizione’ too.


Mes ‘Back To Basics’ (Mabaan Soul Remix)

Mabaan Soul were always really into this track, which was originally produced by Satoshi under his Mes alias. They asked if they could have the parts, and their remix turned out really chunky, with a great shuffle groove.

It fitted perfectly with ‘Edizione’. Their remix works well on the floor, and Satoshi always gets a big reaction when he plays it out. It went down big time in Guendalina club in Southern Italy last year.


Luca Bear ‘Sierra Leone’

Luca Bear is starting to make some big noise, and he’s becoming a big Saw artist. He has had stuff out on Viva and other cool underground labels. He’s a great DJ too.

He lives in Northern Italy. I really like this mix. It’s definitely at forefront of cutting edge house. He just gave us two new tunes too, which we’re definitely going to sign.


Mabaan Soul ‘Yo’

Mabaan Soul are a duo from Italy who are young and have a bright future ahead of them. They’ve had a few releases out on Saw, and they have a very unique sound.

Their music is chunky and raw, with lots of drums and heavy beats, and they sound almost like how Todd Terry used to sound back in the day. This track ‘Yo’ is very in-your-face, it goes bang, like yo!


Doomwork ‘My Crooner’

This track has been sitting around for a couple of years with us. It has a little bit of a progressive house and tech house feeling. It’s very well produced and quite clean. It’s one of my favourite tracks on the release actually.

Doomwork are definitely on the up. We’ve had them warm up for us at gigs in Italy, and again, they’re important artists to Saw. They always let us hear their new stuff first, so we get first pickings on all of their releases.


Matt Masters ‘It’s Always Delayed’

Matt Masters is one of my favourite producers from London, that’s for sure. Matt is a talented guy, and his music is really deep.

His track for ‘Edizione’ is very well produced. The groove is tech house, and because it’s deep, it’s suitable for afterhours or starting a DJ set. It’s got these lush pad sounds in it, which are perfect for setting the mood of a party.

(Words: Terry Church)

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Satoshi Tomiie Biography

東京生まれ、クラシックのピアノ教育を受けジャズを聴いて育った富家はバンド活動などを経て学生時代にクラブへ通いはじめる。フランキー・ナックルズに渡したデモテープがきっかけでハウス・クラシックスとなった『TEARS』を発表、その後NYへ渡りDEF MIX PRODUCTIONSの一員としてハウス・ミュージックの礎を作った。2000年に初のアーティスト・アルバム『FULL LICK』をリリース、高い音楽性で周囲を驚かせより幅広いジャンルで一気にファンを増やした。

富家哲とパートナーHector Romeroで立ち上げたSAW.RECORDINGSはスタートから現在まで幅広いジャンルのDJたちから熱いサポートを受け、10周年を記念したアルバム『EDIZIONE』を2011年2月にリリースする。SAWはDJユースなシングルはもちろん、スイスのCHABによる初アーティスト・アルバムはじめ、『Undulation』 シリーズ、富家自身によるMIX CDシリーズ『ES』『ES-B』などそのときどきで衝撃的な作品を発表。またマイアミWMCやイビザのPACHAでのレーベルパーティはクラバーの中では定番になっていた中、ここ日本ではAIRで富家とHECTORのみならず、彼らがイチオシするアーティストを紹介する「SAW@AIR」を2008年からスタート。未だ知られていない才能にスポットライトを当て、ジャンルにとらわれることなくクオリティ高い音楽を紹介していくという富家哲の思想が貫かれているのがSAWの特徴。このことがグローバル・シーンでの高く信頼される要因となっている。 つづきをよむ click to read the rest

Talk about house music and its impossible not to talk about Japan's Satoshi Tomiie. Since starting out in the late 80s he has been one of the scene's most important and influential figures who has crafted endless dancefloor anthems as well as turning his hand to more pop inclined work, headline DJ sets around the world and all the while staying as relevant as anyone in the game. And it all started in Tokyo clubs during Satoshi's youth, where he was forging himself a great reputation as a talented DJ in the early days of house.

Also a lifelong student of jazz and classical piano, Satoshi soon started producing and had a huge impact right from his very first record. The debut single 'Tears' - co-produced in 1989 with Chicago's 'Godfather of house' Frankie Knuckles - was an instant club hit and is today considered one of house music's most important moments. Soon after, Satoshi relocated to New York City to get fully involved with the exciting early 90s electronic music scene. It immediately paid off, and because he was an accomplished musician as well as dexterous DJ, Japanese composer Ryuichi Sakamoto (of Yellow Magic Orchestra fame) asked Satoshi to join him on his tour, and the rest is history.

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Satoshi Tomiie Contact Information

Satoshi Tomiie Profile
BULLITT BOOKING
Agents - Arash Shirazinia, Ryan Saltzman & Rodrigo Frutos
e-mail: booking@satoshitomiie.com
Phone: +1 202 338 8040
Fax: +1 202 338 8343
3207a M St. NW, Washington, D.C. 20007
Satoshi Tomiie Profile
FUTIQUE MANAGEMENT
Eriko Hase
e-mail: eriko@futic.com
Satoshi Tomiie Profile
OMNIVERSE PRODUCTIONS
Amministratore Unico
Valentina Cecchini
Mob: +39 335 8491430
Fax: +39 0549 909740 (Da Italia)
Fax: +378 0549 909740 (Da Estero)
e-mail: info@omniverse.sm