Over the years, how has your approach to DJing changed, whether it be what you play or how you interact with the crowd?

I think the key is I don’t see myself as an entertainer. I ultimately want to express the feelings and ideas I have, and play music that I’m interested in. I don’t think it’s cool when a DJ can’t express themselves in their performance. That keeps me motivated, to get on stage or behind the booth and get myself out there. But at the same time, there are moments when the music I play doesn’t mesh with whoever played before me, and the audience seems to not get it. At least at first. But then you get a moment when it clicks with them, and that a-ha moment is my favorite feeling.

Any specific memories of that happening stick with you?

About ten years ago, electro and electro-house were still the dominant sounds of electronic music. At the time, people tended to dance side-to-side, in a manner better suited for groovier music, but my music was more suitable for something more aggressive, like jumping up and down. I don’t think Japanese listeners really got the rhythm of what I was doing. I always thought I was confusing them. But then that shifted, and they finally were moving in time with me, just really going for it. I actually got way too excited when that happened and I stood up on the DJ booth. Today, that’s OK, but back then, nobody did that. Probably because they weren’t built for a person to stand on. So I broke the DJ booth as a result. [laughs]

Did they charge you for the DJ booth?

We actually all tried to fix it afterwards. I think it turned out OK.

Recently, you’ve been putting out a lot of solo works, just under the name Yasutaka Nakata. For the most part in the past, you were working with artists such as Perfume or Kyary Pamyu Pamyu, or part of a group such as Capsule. Why have you decided to release more solo works recently?

I see Capsule as somewhat of a solo project, but there is a fixed vocalist [Toshiko Koshijima]. Compared to that, what I’m doing now allows me the freedom to pick whoever I want to sing on the songs. I also have the chance to do more instrumental numbers now. With the other projects that prominently feature vocals, I have to usually think about the radio. But solo, I have more freedom. I also want the audience to listen to my solo work fresh, I want them to see it as something different.

What do you look for in a singer to work with?

When I’m first making something, I don’t even know if I want to have a vocalist appear on the song. But if in the process of putting it together, I decide that it would sound good with someone singing over it, I start looking for someone who fits with it. It’s all very case by case.

What has changed the most in the music you made in Capsule or produced for other artists that someone could pick up on in your newer works?

The way I make it really hasn’t changed all that much. But when I produce a song for someone, there are certain elements that are locked in. I can’t choose the time that it needs to be turned in, or what the theme of the song is. I don’t have much control. The solo work is much closer to Capsule. Since I’m not being offered these jobs, I have complete control over how it sounds. Or how long it takes to make. I can work on it when I want.