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Takaaki Itoh has been in the techno game for a long time now, DJing and producing for over twenty years. The Japanese producer has an extensive discography to his name, as well as his own label, Wols, which he uses exclusively for his own releases. In recent years he’s garnered more attention from techno enthusiasts in the West thanks to some excellent releases on Mord (‘Wisher’, from the EP Disciplinary Synthetics, was one of Resident Advisor’s most charted tracks of January 2018) and on legendary Georgian club Bassiani’s in-house label. As a DJ, he is also in high demand; he’s played at festivals around the world, including Freqs of Nature (RIP) and Awakenings, and just last year he embarked on an epic seven city tour of the United States. On his home turf he runs a regular industrial and techno night, Konvektion, alongside DJ Yazi at Tokyo’s legendary club Contact. He’s also a regular fixture at several major Japanese festivals, such as countryside techno campout Rural. No stranger to vurt., Takaaki Itoh last played at the venue in 2016; his set from that party is actually available for listening on vurt.’s Soundcloud, which provided me a soundtrack to listen and get hyped to as I rode the subway down to Hapjeong to hear him play there once again on Saturday night.
Takaaki Itoh’s set from his appearance at vurt. in 2016.
Opening DJ Suna began her set by stitching together an evocative and eerie ambient soundscape, a deep ocean of sound in which slivers and shards of sonic intricacy glowed far below the surface. It was a mesmerizing affair, and in all honesty I was a little upset when the first few abrupt kick drums began to pound, signaling the beginning of the dancier half of the set; I was enjoying the ambient beginning too much, to the point where I didn’t really want it to end. That being said, I quickly forgot my discontent as I found myself lost within the groove that Suna was laying down. It was definitely a lot harder and darker than usual Suna fair: she swamped the dancefloor in long, sustained peaks of intensity, with the visceral pulse and thud of the bass feeling like the centerpiece of it all. Perhaps this more aggressive sound was intended to prime the crowd for Takaaki Itoh, whose sets generally fall on the more menacing side of the techno spectrum. Or perhaps Suna just felt like getting a little edgier that evening. Either way, I kind of hope she decides to continue in this direction – I think this may be one of the best opening sets of hers that I have heard.
By the time it was Takaaki Itoh’s turn to step up to the DJ booth, the dancefloor was already thick with bodies. The crowd seemed a little more boisterous than usual with a lot of laughter and conversation going on around me, as opposed to people just focusing on dancing. This isn’t a bad thing at all, of course, although I did find myself getting a little annoyed at a couple of women who were having an ear-splittingly loud conversation right behind me for what felt like hours (though actually I guess it’s kind of impressive that they were able to speak over the vurt. sound system). When Takaaki Itoh began to play, however, it seemed as if the entire crowd decided, as one, to shut the fuck up and move. There was an intensity to the people dancing around me; I saw people dancing with their eyes shut, bodies shaking and arms flailing in wild and unconstrained joy. A lot of this, of course, had to do with the music flowing out of the speakers. With his headphones acting as an Alice band for his mane of black hair, Takaaki Itoh was bombarding the dancefloor with a steady barrage of tunes, a blackened and warped take on big-room techno, with heavy emphasis placed on percussion. A lot of what he was playing sounded to me as if it had taken inspiration from the sounds of mid-90s Dutch and Belgian hardcore – laser-like synth riffs, acid-splash distortion – but repackaged and reconfigured in the tempo and context of contemporary techno. For all the rawness of his set, though, Takaaki Itoh knows how to give his audience a break every now and then; at regular intervals the tempo would drop slightly and the tunes would turn more introspective and hypnotic, providing some much-needed respite from the sheer intensity of a lot of what he played. If you were to try and plot out the course of Itoh’s set with pen and paper, it would look like a series of waves, the peak of each slightly higher than the one that came before it, the trough slightly lower, until the set reached its thrilling, jagged conclusion.
Unfortunately, I had to be up early on Sunday morning, so as much as I was enjoying myself I had to tear myself away and leave vurt. before it was time for the closing artist, Scøpe, to take over. It’s a pity, because I know from previous gigs that Scøpe is a master of the subtle art of finishing a night. With a bit of luck, it won’t be too long before I get the chance to hear him play again, and I can make up for the lost opportunity.
D Js like Takaaki Itoh, and venues like vurt., are ample proof that the techno scene in east Asia is every bit as exciting and full of talent as those in Europe and elsewhere. With dedicated veterans like Itoh leading the way and setting an example for the younger generation, no doubt the scene will only continue to grow from strength to strength.