by Fled @ TTT / Tune ouT Tokyo

Tune ouT Tokyo presents it’s 1st interview of 2024 with ALICE IGUCHI, Tokyo born-and-raised, now based in New York City since 2017.

N.Y.C. is where ALICE IGUCHI found her new sense of belonging in the underground electronic scene. Since then, sharing music as been her new international language of choice driven with her colorful fusion of sounds.

ALICE IGUCHI performs on continental America, Europe, & Asia where she gets her ‘inspiration‘ from North American diversity & cultural freedom, European dancentric culture, her performances across the globe from Burning Man to WOMB and by KEN’s vision for his SelVa “jungle party on the dance floor” experience this Saturday, January 13th @ WOMB in Tokyo.

ALICE IGUCHI graces the main room of WOMB this Saturday, January 13th for the SelVa 2nd ANNIVERSARY with an opening set 11pm-1am. Get your advanced tickets from the WOMB link interview end!



I remember growing up listening to US pop and jazz music in my dad’s car since I was little, now thinking back I think that was the start of my music journey.  In my early teenage years I used to go to rental video store in my neighborhood every week to rent a bunch of UK & US rock / pop CDs to find new music.  I was always fascinated by western music culture while everyone around me in the school was into J-POP.

Also, I was discovering more electronic infused sound while I was in college such as Massive Attack, Radiohead, Sbtrkt, Thievery Corporation.

The moment when I recognized ‘House music’ for the first time, I just fell in love. The track I heard was ‘L.O.V.E.’ from Motor City Drum Ensemble, I still remember the moment I was asking so many questions to my friend who showed me this track, like ‘what is this music? Do you know more of this kind of music?!’. 

What inspired me to move to N.Y.C.– was when I saw how people were expressing themselves so freely– through art, fashion, music… you can feel that just walking by the street.

It was also mind blowing for me to see how diverse this city was, including people. I never felt so accepted growing up in Tokyo, we are always taught how to be the same & fit in the society, it makes you feel insecure otherwise. When I realized that was not the only way to live in this world, I just decided to move. It felt like this city accepted me as who I am.

I am not sure if there was ‘a big splash’ after I started DJing, it felt like more gradual, started from playing for friend’s house parties to playing at small music bars and opening small events. After a couple of years in I was invited to do a residency at ‘Do Not Sit On The Furniture’ in Miami, & after that it gave me many opportunities to play for more shows, playing for festivals like Miami music week, Art Basel and Elements festival.

It has been 7 years since I started playing music in this electronic music scene in N.Y.C. and I strongly believe in us as DJs, or any other artists to take time for the process of achieving especially what you want & even enjoying the struggles on the way.

After I left college, I went to a language school in The Philippines. I was always dreaming about traveling abroad & see the world outside of Japan. When I met one of my friends from college who went to a language school there for a couple of months he came back as an English speaker– surprisingly. I was able to achieve a good fundamental English after being in the school for 3 months.

But of course, I had some struggles in N.Y.C. as there are so many people with different accents from all over the world which then took me over a year to fully understand & being able to have deep conversation. I was putting out myself in the non-japanese communities & I think that has helped me a lot.

The very basic English skill is definitely important, maybe it is a big factor to establish & express yourself.

But more importantly, your courage to put yourself in those places, the willingness to express yourself, & not being afraid of communicating with the English speakers. That is the biggest factor to survive in the foreign countries & establish yourself there.

First, I have a big appreciation for the diversity of electronic music. I was exposed to so many different kind of house / techno since I moved there–

There is a history how the electronic music came to our lives, starting from Detroit techno & Chicago house, then how it integrated in N.Y.C.– as I knew more I fell in love more.

I also appreciate how big this music scene is, there is so much big electronic music happening in the U.S., being able to find new artists, sound, trends.. it is never ending fun as a music lover.

Personally, I would love to see more artists from Asia. It feels like the scene in the U.S. or other asian countries doesn’t have much import and export in music.

I have seen so many great local artists all over the world and I hope there will be more opportunities to exchange the artists all over the world.

Yes! It was my first Wonderfruit Festival experience & I absolutely loved it! It was also my first festival I attended in Asia.

I was amazed how clean & well designed the festival was. There was this pretty market section where you are able to buy some great organic products, drinks or art from local stores from Chiang Mai, it was one of my favorite experiences there!

I had an opportunity to play with one of the resident DJs from the Polygon stage in Tokyo in June and that was one of the reasons I made it to the festival this year– through connecting with their team which gave me the reason to go to Wonderfruit Festival & see their beautiful stage this year.

Experiencing their beautiful sound system & their music creation was definitely something & it still gives me chills– especially the last night closing b2b set from Viken Arman + Acid Pauli.

Viken Arman + Acid Pauli played ‘One Love’ from Bob Marley in the end, all the people on the entire stage & dance floor were singing the song together– the song didn’t leave my head for a week! Haha–

Seeing this Polygon crew from London putting so much effort to create this outstanding high technology stage in Asia, I could say it is not easy work, but seeing their passion & dedication was something that really inspired & resonated with me. Anything we can imagine is possible to make it real.

When you perform in Europe, but you also attend other events & festivals such as the Garbicz Festival & other festivals & renowned clubs.

Attending two festivals last summer reminded me how I loved music to the core. Everyone in the festivals were happy, enjoying the moment– it was beautiful to witness that.

I was also surprised with the level of music creation & the quality of the sound systems. Seeing all of those great artists play inspired me to be better, making more effort to polish my skills as a DJ & also how to be able to express myself more through music.

From wonder fruit to washoku.  Many Japanese miss their sublime subtle flavors & high quality standards of Japanesewashoku’ cuisine.

Hmm… the first few years in N.Y.C. I was always craving for some grilled fish in the morning! Also a good ramen place that opens after 11pm which doesn’t exist in N.Y.C..

After 9 years of living in NY, I am pretty OK with the food there now. There are more & more great quality Japanese restaurants in Brooklyn where I live.

Some uni (sea urchin roe) from the state of Maine is better than the ones I eat in Japan sometimes. I wouldn’t complain much besides the fact all of the Japanese food you get here costs 3 times more.

I have been going to Osakana Fish Market which is located in Brooklyn & Manhattan, where you can buy high quality sushi grade fish & great fish.

I also like Mr. Taka & Chuko when I crave for ramen.

For a Japanese supermarket– there are actually tons all over the city! All of them are pretty good, but I go to the Tenichi Market in Williamsburg, they have some huge selection of everything.

That is a fun question! haha–

I would LOVE to invite Recondite, I have been a big fan of his music for many years.

KEN is the mastermind behind both the SelVa & the Bump events @ Womb.  You’ve been a regular main stage guest, both events, since the Bump Christmas Party in 2020.

He has a very specific & very different music taste from everyone I met in Japan. I believe he learned from the years of his passion for following electronic music & festivals all over the world. Bringing this ‘different sound’ & the new concept to Tokyo is something– it is sensational & that is something very special.

I admire KEN’s vision & passion for sharing something new to the music scene in Japan. Every event I played from both of his events are always very special in my heart, I am very grateful to be part of KEN’s production and journey!

Always very exciting to see the artists I respect in the different parts of the world! Seeing them bringing slightly different music selections is always fun to watch too.

Hmm any advise.. as I am still on this journey of growing, I don’t know if I could give the best advise, but something I can say is music & art is a universal language.

Music is meant to be shared. Believe in your potential & the dream you have, playing outside of your comfort zone can be scary, but at the same time incredibly exciting to connect with the world. Enjoy the process & go enjoy sharing what you have.

ALICE IGUCHI <<< main room 11pm-1am >>> SelVa 2nd ANNIVERSARY @ WOMB

ALICE IGUCHI <<< main room 11pm-1am >>> SelVa 2nd ANNIVERSARY @ WOMB

INTERVIEWER: Fled Tokyo @ T.T.T. / Tune ouT Tokyo

EVENT: SelVa @ WOMB, Tokyo – Saturday, January 13th, 2024

BOOKINGS WORLDWIDE: [email protected]


Tune ouT Tokyo thanks ALICE IGUCHI, KEN @ SelVA & WOMB XOXOXO


Interview by Fled Tokyo, Tune ouT Tokyo

Hailing from South Korea, SHUBOSTAR has been immersing herself in the evolving underground scene of South Korea and Thailand and now in Mexico. Her electric music taste spans various style but her music has a common theme of ‘Cosmic’.

SHUBOSTAR’s self-defined music style is Cosmic Disco – a base of disco, but with more techno elements. From 2018 she decided to launch her own label ‘uju Records’ with Korean painter Daryung Kim, inviting her favorite artists in the genre.


日本語記事(DIGLE MAGAZINE掲載)はこちら> 文: Fled Tokyo(Tune ouT Tokyo) 編: Aoi Kurihara(翻訳)

TUNE OUT TOKYO: You came to Japan to perform at two SelVa events. The main event was at Hakuba Mountain Harbor in Nagano over the weekend.

How was this experience high up in the snow filled mountains of Japan?

SHUBOSTAR: I was so proud of being East Asian: is awesome to proof we also have great promoters who make this kind of beautiful outdoor events and I hope we’ll have always more and more. I cried inside tears of happiness for the opportunity of playing in this unbelievable place!

SHUBOSTAR @ Hakuba Mountain Harbor / Hakuba, Japan / 22nd APRIL 2023

The 1st SelVa event was the pre-party held at Womb.

Was this your first time to play Womb?

I heard about Womb a long time ago but never played there before. Has been a dream coming true being able to perform there!

SHUBOSTAR @ Womb / Tokyo, Japan / 20th APRIL 2023

As an international traveling DJ, from your personal perspective, how does Tokyo compare to other cities around the world?

You can feel that the music scene in Japan has a very long history. The quality of the music in every shop is insane, especially in the bars. Very underground with good taste. Even though you are going to the countryside, you will always listen good music everywhere! That really surprised me in a positive way.

SHUBOSTAR DJ set at ARENA MÉXICO with SCR Connect Mexico / Seoul Community Radio

Last year in 2022 you traveled the globe to play some astronomical events.

What was your best memory from last year?

Of course Burning Man 2022 at Mayan Warrior art car. It won’t happen again with the same art car anymore so it means more to me.

A cloud of slight dust on Tuesday night, sparkling lights from the people, and even on the ground.

The energy from the crowd was powerful and it was an unforgettable magic moment.

Recently, Ryuichi Sakamoto from Yellow Magic Orchestra sadly passed away.

Do you have any musical influences from Japan?

When I was in high school I listened more to Japanese music than Korean music, to be honest. I was a big fan of Japanese rock music such as X-Japan, L’arc-en ciel, Dir en grey. Then of course I discovered Yellow Magic Orchestra (the) Kraftwerk for East Asians. I also used to play “Merry Christmas Mr. Lawrence”.

Ryuichi Sakamoto is definitely one of the greatest artists in the history of Japan and he meant a lot to me.

Your first release on your label ‘uju Records’ appears to be ‘Harlock’. This anime based music video comes out of the same vein as Akira.

Has anime influenced you in any way as an artist?

As I told you before I listened more to Japanese music than Korean music when I was in high school. Back then I used to watch a lot of Japanese animè: Evangelion, Cowboy Bebop, Escaflowne, Sailor Moon, Slayers, Galaxy Express 999, everything coming from Ghibli Studio, Tekkonkinkreet, Paprika, Space Dandy, Samurai Champloo… and many more. They actually built my identity.

I especially loved Cowboy Bebop, Space Dandy, and Galaxy Express 999 – they have similar “space travel” themes (to my music). I used to dream about this kind of travels with my crew. When I make music I feel like I’m the captain of the spaceship. I’m sure that space travel animations influenced me to have my cosmic sound! 

South Korea is producing bright shining international talent such as Peggy Gou and yourself Shubostar. In Tokyo we are familiar with the smooth vinylists Radio Revolutioner and Mihak.

MIHAK / Seoul cross over @ Koara Test Press / Tokyo

Can you tell us about the burgeoning electronic scene in Seoul?

This topic is quite difficult to answer because I left the Seoul scene more than 8 years ago. I only can say the scene is growing up so fast and looks unique and interesting.

RADIO REVOLUTION / Seoul House Connection

I met Radio Revolutioner in Bangkok on this tour. We talked about many things and both agreed we have many good DJs, but not many interactions with other countries. But yes, it’s just the beginning. I can expect in a few years the electronic scene will be growing a lot and surprise other countries!

What was it like coming up in this scene for you?

It was a great feeling that I could talk about my music with other people especially when someone already know about my pure passion “Cosmic Voyage” series.

Also when I play my music they recognize my music and sometimes sing the melody or lyrics togehter. Sometimes people request my music with their phone screen. I just feel weird but grateful that they know my music already.

Your the head  of ‘uju Records’ based in Mexico City, Mexico. In January you performed ‘Radical & Incendia present Born in Mexico Showcase’ in Tulum alongside Zombies In Miami, Paulor and Vongold.

What is your connection to Mexico?

I’ve been living in Mexico for 4-5 years. My career started to grow there! Before Mexico, I quitted being a DJ for a while but I met several friends who helped me and encouraged me to play music again. That’s the moment when I started to work with my agent from ‘Born in Mexico’, Marco.

Thanks to him I started to play in all the best clubs and festivals around Mexico! Mexico means a lot to me. Mexico is in my heart. 

What foods do crave when you’re outside of Korea and Mexico? 

I’m crazy with seafood especially raw seafood. I also like tapas style of food. Not big portion so you can order many different dishes. These days I love to go to drink natural wine pairing small dishes.

Dark disco and indie disco are kings of the mountain in Mexico. As opposed to Japan, where dark disco and indie disco are still waiting to hatch their shells. However, international DJs in these veins are celebrated in Tokyo including Curses, Moscoman, and Simple Symmetry.

How did you fall in love with your ‘cosmic disco’ ranging from nu-disco to dark disco with splashes of techno?

It was a combination of all I listened during my life. I loved to listen Nordic Disco artists such as Todd Terje, Lindstrom or Prins Thomas, but also Italo and Cosmic Disco artists like Daniele Baldelli or Alexander Robotnick. I used to listen to rock music from Japan, Korea and a bit everywhere too. I even loved to listen to Goth Metal!

Everything came naturally. You can check my musical journey via my mix set series “Cosmic Voyage” on my soundcloud.

Last month, March 31st, you released your debut album ‘Dolphin Dream’ on the ‘Live At Robert Johnson’ label.

The ‘Queen Millennia’ track is a melancholic yet hopeful new disco joint with sprinkles of cosmic sounds and a touch of techno from outer space.

‘Dolphin Dream’ is an arpeggio based tidal stream with everyone’s favorite finned mammal (perhaps not the sharks) to a underwater party in Atlantis.

What was the concept behind this album?

I made most of these tracks during the pandemic. After Spiegel got the spotlight I wanted to make more music related to Japanese animation: with Queen Millennia I tried to make a melancholic melody to describe the mother of Maetel, Queen Promethium.

With Dolphin Dream instead I got the idea to use dolphin sound inspired from my good friends “Magic Dolphin Club” a DJ trio in Mexico. They always play dolphin sounds in their set.

Siestar was a project I wanted to become a very danceable bright track, while with Eternitè all came naturally after met my friend Alexandra.

We met in Frankfurt and she suddenly sent me her poem with her voice which was totally beautiful. I made a track able to fit her dreamy poem.

At the end of last year you did a remix for Curses featuring Terr on the track ‘Ghost of Arms’ on Jennifer Cardini’s label Dischi Autunno.

How did you meet Luca aka Curses?

We knew each other only online, but when Luca came to Mexico we finally met. That day I was playing at Funk Club in Mexico City and he wanted to see the venue so we went together. He is not just an amazing musician, but also a very cool guy!

What was it like re-working his track ‘Ghost of Arms’?

I really liked Terr’s voice. Not too artificial or effected, very simple and refreshing. After adding one arpeggio, everything went so fast because all the elements he made were good. When I sent it to Luca he told me that he got goosebumps! 

After Japan it appears you’ll be shooting over to Europe for an extensive tour.

Can you share any big announcements with us for 2023?

My summer schedule is looking busy luckily! I will play at several festivals in Europe like Nuit Sonores in Lyon, Kappa Futur in Turin and Garbicz in Poland plus many many club all around.

We are also working on my first US tour for the fall so keep an eye on it!

Thanks for having me, Japan experience was a big gift for me. I’m sure I come back very soon!  日本ありがとう!


Live At Robert Johnson Label – 2023 – Digital Release

SHUBOSTAR / Black Rock Desert / Nevada, U.S.A.

INTERVIEWER: Fled Tokyo, Tune ouT Tokyo

LOCATION: Tokyo, Japan

EVENT: SelVa @ Womb, Tokyo > April 20th, 2023

EVENT: SelVa @ Hakuba Mountain Harbor, Nagano > April 22nd, 2023


Tune ouT Tokyo thanks SHUBOSTAR, Simone @ Oltre Booking, Sari @ Neptune Music Agency and Ken from the SelVa party.

digle magにもTTT記事が掲載されています >

文: Fled Tokyo(Tune ouT Tokyo) 編: Aoi Kurihara(翻訳)


by Fled Tokyo, Tune ouT Tokyo

ZOMBIES IN MIAMI is a project created by Cani & Jenouise based in Aguacalientes in the heart of Mexico. Despite the name ZOMIES IN MIAMI they are not crawling around Miami, but shining out their light across the globe. The couple have became one of the most prominent members of Mexico‘s vital electronic scene over the last decade. You can call their sound a rhythmic and synth-driven house and techno hybrid, with a disco and balearic twist, which is held together by the oh so sweet Italo Drama.

Interview with Cani from ZOMBIES IN MIAMI and Fled Tokyo from Tune ouT Tokyo.

日本語記事(DIGLE MAGAZINE掲載)はこちら>


ZOMBIES IN MIAMI burst onto the world stage after highly acclaimed EPs and tracks for such diverse labels as Gerd Janson’s Running Back, Jennifer Cardini’s Correspondent, and on Prins Thomas’s Internasjonal they released their first album “2712” on Permanent Vacation.

ZOMBIES IN MIAMI play regularly in top clubs around the world like Berghain / Panorama Bar, Robert Johnson, Nitsa, Lux Fragil, Good Room, Vent and also festivals such as Sonar, Fusion, Burning Man, Garbicz, Mutek and many more.

They started their own label called Creatures of the Night. Besides the ZOMBIES IN MIAMI DJ duo they have another project influenced by techno & experimental live music called ‘Planet ZIM’. They are expecting to play some special Live Acts in Europe for 2023.

TUNE OUT TOKYO: The ZOMBIES IN MIAMI schedule is busy with some big upcoming performances. After Japan you performing in Puerto Escondido, Mexico for the VORTX Festival. Then at the Gop Tun Festival in Village Canindé, Brazil. After that it’s the Superski ‘Mondo Moderno’ Release party in Paris, France. May 29th you’re playing at CircoLoco Ibiza in Spain.

Is it your first time playing CircoLoco Ibiza? And how excited is ZOMBIES IN MIAMI to perform there?

ZOMBIES IN MIAMI: Yes! Actually it’s our debut in Ibiza and Circoloco. Of course it’s a special one because we’ve never been in the city and it’s well know as one of the electronic music capitals in the world. Playing an institution as DC-10 is great for us. Many good artists are playing there week by week and it’s motivating for us to have the invitation to play there for the first time. We are very looking forward for this show. Also the line up looks amazing with some friends.


ZIM played Johnny Faneau’s QUE RICO party at Circus Tokyo on March 31st, 2023. The last time you performed at Vent, Tokyo for the Huit Etoiles 6th Anniversary Party I remember you had a synthesizer connected as a part of your DJ set.

Do you still have this hardware in your DJ set?

We are changing all the time. All our sets can change last minute. For example we are playing lots of dj sets now, but sometimes we can add drum machines, synths or vocals on top. Definitely is more fun for us because the interaction with the machines and the crowd is different. For QUE RICO we played a dj set with vocals.

In 2023 ZOMBIES IN MIAMI were planning to perform as Live Act in Europe.

Is this plan coming to fruition this year? And what gear will be apart of the Live Act?

Definitely we’ll play live sets forever! We started our project doing this. For the summer we’ll play some festivals and clubs live. We almost use (only) Roland gear. We are working as brand ambassadors with them since last year. The sound of the live act is different because we play only ZOMBIES IN MIAMI tracks. Of course with the same intention changing styles and rhythms, but in our DJ set we can play tracks from another projects and artists.

ZOMBIES IN MIAMI ‘Live Sunrise Session’ en City Room @ Isla Mujeres

Let’s get into ZOMBIES IN MIAMI releases and album. You started releasing back in 2011 with your Cyborg EP.

Since then you have released on labels worldwide such as Correspondant, Running Back, Roam Recordings, Suara, Cin Cin, La Dame Noir, Creatures of the Night, Internasjonal, Kompakt, and Cómeme to name a few.

In 2020 you released your first LP album ‘2712’ on Permanent Vacation. Recently in early March, 2023, you released your ‘Be Free’ EP on Correspondant Records.

Any future plans for the next album? Are there any releases you can talk about?

We have a very busy schedule with releases. We enjoyed a lot good chances to produce our last EP ‘Be Free’. The next releases are coming over summer. One of those EPs is on Live At Robert Johnson and one more on Permanent Vacation. Also we’re preparing another one with Mystery Affair on our label with a Prins Thomas remix.

Cani, you and Jenouise took a little time to enjoy a little sightseeing, the picturesque views and the world-class Japanese food in Kyoto and Osaka.

Japanese culture is very inspiring and captivating for electronic artists.

After leaving Japan does this inspiration impact your creative process and music productions?

Of course it’s very inspiring for us to come to Japan. We love the country so much. The culture is very rich and unique and we can get the vibes to put in our style and productions. On the way traveling from Kyoto to Tokyo we took the computer to start to produce one track on the way. Inspiring us from all the views. We’ll release this for sure 🙂 


Correspondant Records – 2023 – Record/Vinyl + Digital Release

ZOMBIES IN MIAMI Jenouise and Cani in Kyoto, Japan

INTERVIEWER: Fled Tokyo, Tune ouT Tokyo

LOCATION: Osaka, Japan

EVENT: QUE RICO – ZOMBIES IN MIAMI @ Circus, Tokyo > March 31st, 2023

EVENT: 230401 @ Note, Tokyo > April 1st, 2023


Tune ouT Tokyo thanks Cani and Jenouise from ZOMBIES IN MIAMI, Johnny Faneau and Circus, Tokyo.

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TRANSLATOR: Aoi Kurihara


by Fled Tokyo for Tune ouT Tokyo @ THE HAPPYmAN CHEAKS

Xique-Xique is a low bpm project from São Paulo, Brazil, the DJ and producer duo Dunwich and Bibana Graeff, inspired and influenced by the Voodoohop Collective.

Interview with Dunwich from Xique-xique and Fled Tokyo from Tune ouT Tokyo.




TUNE OUT TOKYO: Xique-xique is your slow BPM project from São Paulo, Brazil. And in Brazil, Xique-xique is a city in the state of Bahia. Also, Xique-xique is the name of the cactus found in that region.

How did your name Xique-xique arise?

Xique-xique: Yes, I guess we just liked the sound. It was sounding like a percussion. And also there is some kind of pun, a game, the with phonetic and the sound in Brazil. People like to make some mistake writing the words differently, but with a phonetic similar sound.

So Xique-Xique sounds like also ‘chic’ C-H-I-C. Also, it was a bar close to the place where I was playing and we liked the fact it started with an X and knew the sound is different it’s CH because it’s Portuguese. And that’s it, we liked the whole thing and we kept it.

Xique-xique > Dunwich & Bibana Graeff

In February you organized and played the first edition of FESTIVAL XAXOEIRA in the nature preserve Cachoeira do Pedrão (Waterfall Pedrão) in Heliodora, Brazil.

Tell us about your after thoughts on your first organized festival?

Yes, it was really nice actually. We were trying to gather again all the people that used to do the Voodoohop in this place. In this very place. And the last edition, if I am correct, was in 2018. And with pandemic afterwards, we actually felt with my friend Pedro that it was time to just gather friends and just spend good time trying to keep alive this vibe, and the same sound and the same people around. And it actually worked very well. It was a very moving moment to see everyone coming back in this place and feeling that there is definitely something about this place and the connection with the sound and it all fits perfectly together. It’s really nice.

Any plans for the next edition in the near future for FESTIVAL XAXOERIA?

I guess there will be a second edition.

You’re based in São Paolo, Brazil, but you live deep in the forest. Images of indigenous people, colorful animals, waterfalls and ancient trees can be visualized.

How does this untouched culture and environment influence your music?

Well, Xique-xique was born after a festival of Voodoohop in this place. We felt so much magic with Bibiana Graeff that coming back from São Paulo from the forest, we said we need to do one music that synthesize all the beauty and magic that we’ve seen in three days. This music is Xaxoeira. And ‘Xaxoeira’ is actually also a misspelled, it should be ‘cachoeira’. ‘Xaxoeira’ is also a pun with the X and ‘cachoeira’ means waterfall. We tried to make one track that was keeping alive, I mean trying to synthesize the beauty of the festival. And that’s it.

So yes, I actually record a lot of birds around the place and I use them in the music. So this also influences a lot of course. There are so many different bird sounds and insects and bugs. It’s quite unique. So I use this as an intervention inside the music. Not as percussion so much. It’s like if there was a guest coming inside the music to perform. 

Not too long ago, there was a downtempo dance music tsunami felt around the world from South America and the Voodoohop Collective arose globally.

How is Xique-xique related to this?

Well, Xique-xique couldn’t be here without this Voodoohop Collective that really had the idea about the sound to put some electronic drums on some traditional Brazilian track like Thomash did, Thomash is from Voodoohop, and well I think that there was a kind of wave from South America about this downtempo sound and I think I am here because I am a tiny drop of water on a big wave. And this is it, without Voodoohop (then) Xique-xique would not have been created. It’s extremely well linked I think.

What is the state of downtempo organic music today?

I think it’s the first time I see a genre which is still evolving and touching new people today so many years after it started. And at that same time, the people that were doing this sound at the beginning are already migrating or changing a bit of direction, but the original sound is still touching new people and this is very unique. So you have at the same time everything, the first interpretation of the style still alive and spreading everywhere and at the same time some new directions created also…clearly evolving.

Who are some artists in this genre that you like?

Then, I would have to say some new direction that I like. From Japan, I like very much Ground and DJ Amiga. In Russia I like Zoe Reijue (who’s) very talented. In Amsterdam I like Trippin Jaguar (whose) very good. In Germany I like Paul Traeumer and his label Kontrapost (which is) very good also. In Istanbul, Oceanvs Orientalis and Batu Ozer. In France the Crepite label is doing very interesting things. In Brazil I would say Psilosamples which is a veteran of electronic music and is amazing still renewing himself all the time. And for the new generation of DJ I would say Cauana and Kika Deeke.

Life in Tokyo and around the world moves faster, harder and more relentless every day. Your music can be seen as an invitation away from all of this. Besides the slow relaxing BPM massage, the tribal grooves and the bird sounds, there seems to be a deeper spirituality in your sound.

Do you agree with this statement?

Yes, I think maybe it was unconscious at the beginning. My idea was really something connected to nature. Like somehow if you could put the microphone in the forest and just listen to some deep manifestation from birds and the trees. And that was the idea and I understood later it has some, maybe, spiritual impact or lecture. I think it is very interesting, of course I am just being careful sometimes with some marketing use which is done about anything spiritual related with music, but it is interesting.

You’re performing at Bump at Womb on Saturday, March 18th. And the afterparty at Sunset Park Club. Last weekend you performed three gigs in Korea, too.

How did this Asian tour form?

Well it was a bit magic actually. It started with this gig in Thailand and also I knew I had the confirmation to play at Immersion which is a party traveling and this time it will be in Indonesia in West Papua to be exact. And so I had those two gigs and no vision about an Asian tour so far. And then my agent told me that there was a possibility to play in Tokyo at Bump party at Womb. And somehow I was playing with Que Sakamoto in Brazil in the festival I organized and I told him I was going to Tokyo and he help me found three gigs in Korea. Then it suddenly appeared like a tour when you linked all the dots. It’s very nice because it’s a good illustration of how I like to lead my life which is making room for the impossible to happen. If you don’t make room for it, it doesn’t happen. I had to believe that I could make a tour, I had to believe that some gigs would happen. Otherwise I would have moved out, move away, go to some other place, but I said no, something will happen and it happened. So I’m glad I left enough space for it to happen.

In the near future, after this Asian tour, where does the journey lead next for Xique-xique?

I don’t know. I like to believe the path is getting enlighted as long as you walk. So I can’t see so far away. I am focusing on where I am right now. And the plan for this year would to perform a majority of gigs live with Bibana Graeff which is the other member of Xique-xique and she’s in Brazil. But the plan is yes, to make more and more live with her because it is a perfect representation of Xique-xique actually, the live act with Bibana Graeff, it’s a perfect format. And we already can say that the first gig this year together will be in Berlin at Kater Blau in July and we are looking forward so much for it!

INTERVIEWER: Fled Tokyo for Tune ouT Tokyo


EVENT: BUMP 4th Anniversary @ WOMB > March 18th, 2023

EVENT: BUMP Afterparty I @ Sunset Park Club > March 19th, 2023

EVENT: BUMP Afterparty II @ Traffic > March 26th, 2023

Tune ouT Tokyo thanks Xique-xique, Satoru from THE HAPPYmAN CHEAKS, and Ken from the BUMP party and Womb, Tokyo.


by Fled Tokyo, Tune ouT Tokyo

Tune ouT Tokyo presents its first interview post-pandemic with international DJ, live act, label boss, post punk music producer, the next wave romancer CURSES.

Interview with Curses, Ombra International label boss, and Fled Tokyo for Tune ouT Tokyo.

日本語記事(DIGLE MAGAZINE掲載)はこちら>


Tune ouT Tokyo: Berlin-based CURSES brings a romantic edge to the dance floor, blending 80’s New Wave, the darker side of Italo-Disco and flashes of EBM with his own ghostly vocals.

The debut album from CURSES, ‘Romantic Fiction’ dropped on Jennifer Cardini’s Dischi Autunno imprint in October 2018, launching his live act which brings the guitars, vocals and energy of the album to stage as a duo. Whether it’s DJng in the main room at Circoloco DC-10, or performing live at festivals like, Nuits Sonores, Curses brings punk and new wave energy to all dance floors of any size.

TTT’s FLED TOKYO: As a Berlin based artist, international DJ, producer, label boss of OMBRA INTERNATIONAL and live musician who is originally from New York…how did you begin your creative journey into music in your earlier years?

CURSES: I owe it all to my parents. They were always playing music in the house. My dad was always blasting opera and classical, my mom more on the David Byrne and Brian Eno, Laurie Anderson side of things. Apparently i was kicking wildly in my mom’s stomach while still in the womb at a live recital of the Opera, Don Giovanni, so much that they considered almost naming me Orlando Furioso, the main Knight in the opera.

Your the label boss of OMBRA INTERNATIONAL releasing a catalogue of music from various worldwide artists. You have also released on various labels from Permanent Vacation, Bordello A Parigi, Oráculo Records, Wrong Era to Belgian powerhouse N.E.W.S. to only name a few.

Do you have any musical influences from Japan in terms of music, Japanese artists or culture?

I am actually a massive fan of  Kurosawa’s films. I feel cinema and visual arts play an integral part in music, helping to convey the emotion and message. With films like Kurosawa’s ‘Yojimbo’, I always found a common thread within the tension, the simplicity and powerful release of danger and emotion. Similar in Felini as well. I try to evoke this same journey in song and club music: tension and release, darkness and romance.

Japanese hardware from synthesizers to drum machines for production to DJ gear for playback have been industry standards for decades.

Do you incorporate any Japanese gear into your production process? What pieces of gear are you in love with these days?

I think once Roger Linn partnered with AKAI in the 80s’ there was no turning back when it came to drum machines and samplers. My very first sampler was an AKAI, and even to this day, we use the AKAI MPC LIVE for the Curses live band as the main skeleton for all drums. Besides AKAI I am also a huge fan of the KAWAI R-100 Drum machine. I had the 50 when I was 16, and the upgraded to the 100 when I was early 20’s. Its got such a staple sound that pounds and is timeless. I can never get tired of the snares and bass slaps of it.

Andrew Weatherall is an icon in Tokyo. He played at Vent in August of 2019 the year before his passing so his living memory still resonates in Japan to this day. In 2019 you played the last Convenanza Festival he organized in Carcassone, France.

Can you share any of your memories of The Guv’nor?

What an absolute legend he was and is. Weatherall was a humble, yet prolific and supportive artist. It didnt matter how successful or up and coming you may be, he took the time to listen to your music, and if it clicked, he would push it to the masses that understood.

There are many memories of the Guv’Nor, but i think the one that stuck with me most to this day was being introduced as the “goth gene vincent sister of mercy” on stage at Convenanze in 2019. It definitely made me more nervous to get up on that stage, but it also sparked a confidence, because it was such a specific reference only a few people would get. What a loss, but what a power that will live on forever.

On February 24th you have your re-release Curses & Local Suicide “It All Sounds The Same” (originally sold out vinyl release on Tusk Wax) now revamped, remastered, taken to the next level (available digitally & on vinyl) on Iptamenos Discos. 

At Vent Friday are there any CURSES unreleased or OMBRA INTERNATIONAL unreleased music you can share with us?

I will definitely be playing a lot of unreleased Curses and Ombra INTL related things at vent! As well as some new collabs I have coming up with Skelesys as well as Younger Than Me as Y2C. 

An exclusive repress of the last album, Incarnadine (Dischi Autunno) just dropped as well,  with Parisian fashion brand, Saint Laurent, with some extended mixes I will DJ for the first time (just got the masters this week!)


Dischi Autunno – 2022 – Double Vinyl – SAINT LAURENT


Also quite excited to announce I am currently compiling the follow-up NEXTWAVEACIDPUNX compilation that will come out at the end of the year. This time the focus will be on live electronic acts, and have already secured some amazing music from artists like Nuovo Testamento, Years Of Denial, Ultra Sunn, Poison Point, Zanias and Neuromancer, as well as classics Nitzer Ebb, to name a few…

Lots of new music this year from me and friends, hope theres enough time to test it all on Friday, ha! Super excited for this night, thanks for the chat and see you soon!

INTERVIEWER: Fled Tokyo, Tune ouT Tokyo

LOCATION: Shibuya, Tokyo

EVENT: Curses @ Vent, Tokyo > February 17th, 2023

Tune ouT Tokyo thanks Curses, Mustache-X, and Vent.