Jimmen

Interview

Japanese Producer and DJ Jimmen may have been a late starter in the deep house world, but his style, classy productions and impressive discography have made up for much of that propelling the Osaka based producer to labels including Deepwit, Moiss Music, Deep Fix and now my own UM Records. Ahead of his ‘Love Affair’ release I caught up with the man himself to discover more of his story.

Good to catch up Jimmen - how did you first get into music and what inspired you?

The first time I was when I was in junior high school. It was a TV show that started at 8 o'clock on Friday night a video clip of Michael Jackson's predecessor single Black or White from the blockbuster album Dangerous was played. From there, I was gradually attracted to the world of dance music.

Tell us about the Japan house music scene?

I'm not sure. I'm a creator and I don't go to clubs much because I'm scared of Corona lol

That's a joke, but I have a very mixed feeling about the music scene. I sometimes get the chance to DJ, but Osaka is one of the areas with a high infection rate in Japan (I’m based in Osaka) so I'm cautious about DJing.

What were your early house influences getting into music?

My first influences in house music was Towa Tei's Deee-Lite. I remember it was a very vivid stimulus. I think I was in the second or third year of high school at that time. Every time I listened to house music on FM radio, I was attracted to it more. The Pet Shop Boys also often played on the radio. After that, I started to buy early works of Masters at Work and I was impressed, from there I think I became completely absorbed in house music.

You began DJ’ing in the late 90’s - which do you see yourself as most - a DJ or a producer?

I started my career as a DJ, but my career as a producer has become longer. As a slow starter, I've been away from the club music scene for some time. The SL1200 was the mainstream of our generation, but now it's very rare except for the USB DJ. Being able to handle the SL 1200 at will may be a rare value.

You began producing in 2016, what was the catalyst for the move from DJ’ing?

I haven't migrated. I've been away from the club music scene for a long time. My production work started back in 2016. The trigger was that my mentor was about to die of a heart attack. I was very shocked. He said he regretted having worked all the time in his life. He told me that after that event he decided to make time outside of work.

The fact that the mentor was about to die had a huge impact. This event made me decide to regain what I didn't do in my life. I was 36 years old. So I'm a slow starter and I'm a weirdo in this industry.

You’ve gone on to release on labels like Deepwit, Moiss Music, Deep Fix and of course now UM Records too - what influences your choice of labels?

The answer goes to the next question, but I can't create just one style myself. Besides house music, I also listen to hip-hop, reggae, and pop music depending on the mood at that time. Sometimes I hear classical music. For me, music is what speaks for and amplifies my mood.

Those musical experiences are accumulated in me, and if I don't output it, my musical memory will be revived over and over again in my head. Music production for me is the process of shaping the memory of music. So my style changes from time to time. It ’s the worst in terms of marketing.

When it comes to label selection, the point is whether my songs fit and promote well. There are many things I don't know about the label to be released for the first time, so there are also circumstances where I try to release it and try it.

You have a varied style, from deep house to indie and tech house. How would you describe your musical style?

Perhaps my closest musical style is Deep House. However, the concept of Deep House is extremely broad. Isn't it close to the classical Deep House? Whatever you call it, I care about how it sounds in the club. With a fat bottom, I'm careful not to lose being groovy.

How does that differ from your DJ sound?

My DJ sound always wants to include my songs. As a producer, I think it's the role of the DJ to introduce new music to the audience, even if the audience wants to hear something different. It ’s the highlight of DJ ’s skill.

As a producer - how do you find inspiration for new music?

I often get inspiration from the songs of producers other than me, from artists in the present and artists in the past. I also listen to 90's R&B, Reggae and hip hop. My composition style is the process by which those musical experiences change shape and output over time.

What’s your production set up?

I don't use any hardware. Only the mouse. All are produced only in DAW and VST. I'm using Presonus Studio one 5. I use various vsts, but Bass prefers trillian and guitar prefers real strat. I only use orthodox ones. My favorite bass sounds are the Roland Juno series, and the rhythms are made of 808 and 909. Sometimes I use the Korg KPR 77. Pads and leads vary depending on the song, but recently I often use izotope iris2.

How do you work in the studio - do you plan tracks or just go in and work something out there?

I understand that my method of making music is "hard work", and if I make a lot of music, my skills will improve. I don't need the hardware. I only need a mouse. When working in the studio, check the mix balance.

Where did the idea/feeling for your new EP ‘Love Affair’ on UM Records come from?

‘Love Affair’ is a song that embodies the desire to create soulful and dreamy adult dance music. I made a surprisingly beautiful song myself. I may never be able to do it again.

What’s your favourite tune of your own of all time - the one that never grows old?

Blue 6 - Sweeter Love It's a great job. I've been longing for it, but I can't go beyond this song.

What other producers are impressing you right now for you - tracks you’re playing and loving?

Groove Addix, Annette Taylor - Faith (Rocco Rodamaal Extended Remix). This track is a monster track. One of the coolest tracks I ever heard.

How has the pandemic impacted your music, connecting with fans, labels and the like?

Music and community activities have moved from the real world to online. With more online interaction, I started to use music outside the music field. Specifically, it is the use of music in corporate radio programs. It is a program that delivers business information for the company with my tracks and my musical friends’s tracks every week. For companies, disseminating information internally with nice sounds , is an unprecedented attempt, and some companies find it exciting.It's also a fan make-up for artists. "People who work for companies" is a customer segment that the club music world has not targeted. Being able to open up new segments is of tremendous value.

What’s on the cards for the next while?

I have a great stock of nearly 100 Deep House songs. I'm taking these to a higher level and preparing to release them on the label. I'm really looking forward to it.

Where can people follow you?

Facebook

Instagram

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Jimmen

Interview

Japanese Producer and DJ Jimmen may have been a late starter in the deep house world, but his style, classy productions and impressive discography have made up for much of that propelling the Osaka based producer to labels including Deepwit, Moiss Music, Deep Fix and now my own UM Records. Ahead of his ‘Love Affair’ release I caught up with the man himself to discover more of his story.

Good to catch up Jimmen - how did you first get into music and what inspired you?

The first time I was when I was in junior high school. It was a TV show that started at 8 o'clock on Friday night a video clip of Michael Jackson's predecessor single Black or White from the blockbuster album Dangerous was played. From there, I was gradually attracted to the world of dance music.

Tell us about the Japan house music scene?

I'm not sure. I'm a creator and I don't go to clubs much because I'm scared of Corona lol

That's a joke, but I have a very mixed feeling about the music scene. I sometimes get the chance to DJ, but Osaka is one of the areas with a high infection rate in Japan (I’m based in Osaka) so I'm cautious about DJing.

What were your early house influences getting into music?

My first influences in house music was Towa Tei's Deee-Lite. I remember it was a very vivid stimulus. I think I was in the second or third year of high school at that time. Every time I listened to house music on FM radio, I was attracted to it more. The Pet Shop Boys also often played on the radio. After that, I started to buy early works of Masters at Work and I was impressed, from there I think I became completely absorbed in house music.

You began DJ’ing in the late 90’s - which do you see yourself as most - a DJ or a producer?

I started my career as a DJ, but my career as a producer has become longer. As a slow starter, I've been away from the club music scene for some time. The SL1200 was the mainstream of our generation, but now it's very rare except for the USB DJ. Being able to handle the SL 1200 at will may be a rare value.

You began producing in 2016, what was the catalyst for the move from DJ’ing?

I haven't migrated. I've been away from the club music scene for a long time. My production work started back in 2016. The trigger was that my mentor was about to die of a heart attack. I was very shocked. He said he regretted having worked all the time in his life. He told me that after that event he decided to make time outside of work.

The fact that the mentor was about to die had a huge impact. This event made me decide to regain what I didn't do in my life. I was 36 years old. So I'm a slow starter and I'm a weirdo in this industry.

You’ve gone on to release on labels like Deepwit, Moiss Music, Deep Fix and of course now UM Records too - what influences your choice of labels?

The answer goes to the next question, but I can't create just one style myself. Besides house music, I also listen to hip-hop, reggae, and pop music depending on the mood at that time. Sometimes I hear classical music. For me, music is what speaks for and amplifies my mood.

Those musical experiences are accumulated in me, and if I don't output it, my musical memory will be revived over and over again in my head. Music production for me is the process of shaping the memory of music. So my style changes from time to time. It ’s the worst in terms of marketing.

When it comes to label selection, the point is whether my songs fit and promote well. There are many things I don't know about the label to be released for the first time, so there are also circumstances where I try to release it and try it.

You have a varied style, from deep house to indie and tech house. How would you describe your musical style?

Perhaps my closest musical style is Deep House. However, the concept of Deep House is extremely broad. Isn't it close to the classical Deep House? Whatever you call it, I care about how it sounds in the club. With a fat bottom, I'm careful not to lose being groovy.

How does that differ from your DJ sound?

My DJ sound always wants to include my songs. As a producer, I think it's the role of the DJ to introduce new music to the audience, even if the audience wants to hear something different. It ’s the highlight of DJ ’s skill.

As a producer - how do you find inspiration for new music?

I often get inspiration from the songs of producers other than me, from artists in the present and artists in the past. I also listen to 90's R&B, Reggae and hip hop. My composition style is the process by which those musical experiences change shape and output over time.

What’s your production set up?

I don't use any hardware. Only the mouse. All are produced only in DAW and VST. I'm using Presonus Studio one 5. I use various vsts, but Bass prefers trillian and guitar prefers real strat. I only use orthodox ones. My favorite bass sounds are the Roland Juno series, and the rhythms are made of 808 and 909. Sometimes I use the Korg KPR 77. Pads and leads vary depending on the song, but recently I often use izotope iris2.

How do you work in the studio - do you plan tracks or just go in and work something out there?

I understand that my method of making music is "hard work", and if I make a lot of music, my skills will improve. I don't need the hardware. I only need a mouse. When working in the studio, check the mix balance.

Where did the idea/feeling for your new EP ‘Love Affair’ on UM Records come from?

‘Love Affair’ is a song that embodies the desire to create soulful and dreamy adult dance music. I made a surprisingly beautiful song myself. I may never be able to do it again.

What’s your favourite tune of your own of all time - the one that never grows old?

Blue 6 - Sweeter Love It's a great job. I've been longing for it, but I can't go beyond this song.

What other producers are impressing you right now for you - tracks you’re playing and loving?

Groove Addix, Annette Taylor - Faith (Rocco Rodamaal Extended Remix). This track is a monster track. One of the coolest tracks I ever heard.

How has the pandemic impacted your music, connecting with fans, labels and the like?

Music and community activities have moved from the real world to online. With more online interaction, I started to use music outside the music field. Specifically, it is the use of music in corporate radio programs. It is a program that delivers business information for the company with my tracks and my musical friends’s tracks every week. For companies, disseminating information internally with nice sounds , is an unprecedented attempt, and some companies find it exciting.It's also a fan make-up for artists. "People who work for companies" is a customer segment that the club music world has not targeted. Being able to open up new segments is of tremendous value.

What’s on the cards for the next while?

I have a great stock of nearly 100 Deep House songs. I'm taking these to a higher level and preparing to release them on the label. I'm really looking forward to it.

Where can people follow you?

Facebook

Instagram