How do you define your sense of belonging to the electronic scene and clubbing?
Back in 2013, I was diagnosed with a medical problem with my eyes which made it difficult for me to stay close to the 'club scene.' Since then, I've stayed away from producing electronic 'dance' music as well as taking EU tours. After that, I eventually started to compose electronic 'non-dance' music, taking a distance from the club scene. I think that this activity was for me now. Then, as soon as I came up with enough tracks, I released 'I Am Goodbye' (Parachute Records, 2017). That release gave me a new position with electronic music. This year, I've started to release electronic 'dance' music on my label, Hue Helix, after some time. I, in 2020, believe that I've found a way to show my idea to the scene with freedom, with a certain distance from the core of the scene, which doesn't have to do with 'dance.'

How did the scene develop in your country and which events were the trigger?
Well, I'm not sure, because I wasn't involved with the core center of the Japanese Techno scene, or I didn't even live in Tokyo at the moment. However, a club 'Maniac Love' in Tokyo and most of the Techno parties there were triggers, I bet. Let me name you a few great artists from the Japanese Techno mecca: DJ Wada, DJ Shufflemaster, Qhey to name but a few.

Which sounds and influences represent you?
I was much influenced by Birmingham Techno when I was debut in 2002. I'm really proud to release my 1st EP on James Ruskin's Coda label. I've been influenced by various sounds, not just electronic music. My biggest interest is on noise or sound of the object itself. We call it 'Mono-Oto' (物音) in Japanese.

Among the artists, who do you think helped with the growth and the development of the scenes? Between past and present
Any music released all over the world. It doesn't matter if it's famous or not.

Clubs and venues that have particularly affected you?
'Vurt' in South Korea. Not only the club but also the spirit of the owner, 'Yoo Jun' are very impressive.

How is the present? What strengths and problems do scenes face up?
As I said before, my perspective is more like a producer than a club DJ, the way the scene is related to the economy has drastically changed. It seems that 'underground' and 'non-underground' have been polarized with each other. Neither seems to have anything to do with each other, but they still can't be completely separated. Some of the DJs play and liveset have turned to become 'performance show.' However, what I'd like to say is that what it'll be, where it'll head to, not good or bad, just as the answer to your question. In the 90s, the scene was gradually getting formed. Then, in the 2000s, the 'economical approach' gave a huge impact in order to get the scene 'industrialized' as it got spread wider and deeper to the world. On the other hand, it became more like 'art' and diversity was accelerated. However, as the scene got bigger, there were more rules and it got stronger. We sometimes faced with a situation where we couldn't handle like before. From a few years on, 'industrialization' seeks more and more wealth, whereas others get together with similar mind people to stay against the bigger 'tide', taking deeper action to the direction of 'underground' which they believe. I hope that newcomers will meet 'art business' but not deal with it too much. Also, I'd like to keep my label, Hue Helix, independent existence as much as possible.

Go Hiyama’s Top 10 Favorite Tracks:

FLARE a.k.a.Ken Ishii - Curved Sunburst (Yoshihiro Sawasaki Mix)
Masayoshi Fujita - River
Rei Harakami - Owari no Kisetsu
Chaka Khan - Like Sugar
Anderson .Paak - Come Down
toe - Goodbye
Aphex Twin - Window Licker
Zoë Mc Pherson - INOUI (AND FREE)
Ryuichi Sakamoto - E-3A
Go Hiyama - Embrace

Go Hiyama on Instagram