KEYI Magazine goes to VENT Tokyo to team up with TECHVANE, presenting a forward-thinking night of techno that bridges the raw edge of Berlin’s underground with the experimental energy of Tokyo. Taking place on Sunday, September 14, this collaboration brings together some of the most innovative names in the scene,both established and emerging.
KEYI Magazine joins forces with Tokyo’s innovative techno collective TECHVANE for an exclusive event at VENT Tokyo on September 14. Headlined by Tommy Four Seven, whose pioneering work on CLR and his own label 47 continues to push the boundaries of industrial and experimental techno, this night promises a powerful exploration of sound and culture.
On September 14th, a special event by KEYI Magazine and TECHVANE will take place at VENT, making it a must-visit night for techno fans.
Line up (A-Z): Room 1
Berlin Bunny
Co-founder of KEYI Magazine and Dark Disco.org, Belin Bunny knows how to move a crowd. Her sets are an effortlessly smooth blend of techno, electro, and breaks. She’s played at spots like Tresor and KitKat Club, and she brings that energy wherever she goes.
Bundo
Bundo is a Tokyo-based DJ and organizer of the rising techno party VELTRAUM, known for his deep, groove-driven sets that blend techno, minimal, and bass. His sound balances light and dark elements, creating an immersive dancefloor experience shaped by years of playing at key venues like Aoyama Hachi, Contact, and Vision.
DJ JIMIHENDRIXXX a.k.a. Keiichiro Shibuya
Keiichiro Shibuya, a boundary-pushing composer and founder of ATAK, creates across electronic music, opera, film scores, and sound installations. Known for works like the Vocaloid opera THE END and android opera Scary Beauty, he explores the line between life, death, technology, and humanity. In 2025, he resumed his DJ career under the alias DJ JIMIHENDRIXXX.
Eyes Dice
DJ, photographer, and co-founder of KEYI Magazine and Dark Disco.org, Eyes Dice is known for his expertly crafted sets. With a blend of fast-forward techno, electro, and a touch of EBM energy, he has played across Asia, South America, and top Berlin venues.
GAKU SAIMURA
SAIMURA is a Tokyo-based techno DJ known for his hard-hitting style spanning industrial, acid, and minimal techno. He has performed alongside global artists through events like CLR Tokyo and actively collaborates in live units such as MINIMA LIEBENZ and THIRDEYE.
nit1
nit1 crafts a unique sonic world of mind-altering deep sounds fused with distorted, hard-edged elements. With a refined and distinctive aesthetic, his storytelling performances draw listeners into immersive, introspective darkness—cementing his role as a vital force in the underground scene.
Tommy Four Seven
Tommy Four Seven is a pioneering figure in the global techno scene, known for his boundary-pushing productions and sharp curation through his label, 47. With a distinct sonic identity and decades of influence, he remains a driving force in contemporary electronic music.
VJ K2
VJ K2 began his career in 2012 working behind the scenes on concerts and large-scale events, before fully launching his VJ project in 2018. Based in Tokyo’s techno and house scene, he is known for immersive, music-synced visuals that elevate the live experience and have earned praise across numerous parties.
Line up (A-Z): Room 2
Hackmarkt
Hackmarkt (Akihiko) is a Tokyo-based DJ known for his minimal and deep techno sets, active in venues like WOMB and VENT. He organizes parties such as Vertigo and Vespa, supports international artists, and contributes to the local music community through projects like MEIMEI and the Ableton Meetup Tokyo. Additionally, he engages in audiovisual production and sound design, enriching Tokyo’s electronic scene.
junkie babe
junkie babe is a DJ based in Shimokitazawa and Shibuya, and the founder and manager of the DJ bar MEIMEI in Shimokitazawa. Her unique style blends minimal house and techno with tribal and bass elements, showcasing a broad musical sensibility developed through diverse scene collaborations.
Ryusei Sato
Ryusei Sato, founder of Kaiho, creates immersive soundscapes that blend natural elements and the flow of time within the depths of space, all centered around the concept of “liberation.”
TAIGGA
TAIGGA developed a deep passion for psychedelic art and culture from childhood, further shaped by experiences studying abroad. Expressing his unique vision through music, he began DJing with a focus on minimal, psychedelic, and aggressive sounds that lead audiences into immersive, one-of-a-kind dancefloor experiences.
In anticipation of the upcoming VENT x KEYI Magazine event in Tokyo, we spoke with several local artists featured in the lineup to hear their thoughts on music, space, and the Berlin–Tokyo connection.
What kind of atmosphere are you aiming to create at VENT X Keyi Magazine event?
Bundo: The modern space of VENT is a place where various expressions can be embodied. I would like to add industrial and subtle colors to this space through techno, and create an atmosphere where everyone can concentrate on the space and the sound and enjoy it.
How do Tokyo and Berlin influence your musical identity?
Bundo: I went to Berlin last year. What I felt when I visited various places was the expansion of globalization and the unique atmosphere of a culture that is in direct opposition to it. I think this is also true of the Japanese scene. Through DJing and organizing events ‘VELTRAUM’, I want people overseas to know about the underground scene in Japan. I got a lot of hints from Berlin.
What drew you back to DJing in 2025?
DJ JIMIHENDRIXXX: About ten years ago, I occasionally performed DJ sets using a laptop. But the interface-based setup was complicated and didn’t work well with DJ mixers, so I was never satisfied with the sound quality. Eventually, I stepped away from dance music for a while.
Around the same time, my focus shifted toward theatrical works such as opera. Still, electronic music has always been at the core of my artistic practice—and dance music is an essential part of that.
Over the past decade, I’ve seen Pioneer’s CDJ and DJM setups become the global standard. They offer excellent sound quality and stability. Now, with just a USB stick containing my tracks, I can perform anywhere with confidence.
I’ve also noticed a new wave of dance music—around 140 BPM—that doesn’t fit neatly into conventional categories like techno or EDM. It has a sci-fi or even spiritual atmosphere, something reminiscent of Dune Part 2.
This drew me back to DJing—not just to perform, but to research new rhythms and beat structures. I believe this will also feedback into my future stage works. Everything is interconnected in a circular flow of influence.
What kind of story do you try to tell through your sets?
nit1: My first priority is always to align with the concept of the party. Depending on the event’s theme, the time slot, and the venue, the story I want to convey changes each time. Beyond that, I aim for my sets to feel like watching a film—with a clear beginning, development, twist, and conclusion.
How do you balance structure and chaos in your sound?
nit1: To give a set that sense of narrative flow, I think a certain degree of chaos is necessary as a kind of spice. Structure guides the story forward, but by weaving in elements of chaos, I can create unexpected turns and tension—drawing listeners even deeper into the experience.
Where do you start when designing visuals for a set?
VJ K2: I begin by tuning my visual expression to the story that the party creates and the unique world of each artist. My aim is always to build a space where the audience can immerse themselves in both the music and the club environment. Since visuals are, by nature, visual information, I’m careful not to let them become noise that disrupts the experience. Instead, I try to elevate the performance with the artist into a one-of-a-kind spatial experience.
How does the Berlin–Tokyo theme influence your VJ approach?
VJ K2: I reflect the atmosphere of each city—their people, their daily lives, their unique cultural images—into the sound and the audience’s reactions, while keeping in mind the differences between them. Tokyo is where I’m based, so I feel its changes in my daily life almost like every breath I take. Berlin, on the other hand, is something I know only through information—an unknown, in a sense, and also an object of admiration. By encountering the raw presence of Berlin here in Japan, I believe I can open up new horizons in my own expression and translate them into experiences on the dance floor.
What excites you about this Berlin–Tokyo connection at Vent?
Hackmarkt: Berlin is the place where I first encountered club culture, and it remains a point of reference we keep returning to. I even organized a party with a researcher who compared Berlin and Tokyo’s cultural scenes. At my parties at MEIMEI, DJs from Germany often come to play as well, which makes me feel a strong sense of connection to the international scene even while in Tokyo. So being part of this event with such a theme feels very meaningful to me.
Do you see sound as architecture or emotion—or both?
Hackmarkt: For me, sound is one aspect of spatial design. As a club DJ, it manifests through selection and mixing, while in live sets, audiovisual performances, generative music, or multi-channel sound, it becomes another way of addressing the question: what kind of space do we want to create? In that sense, it is indeed an architectural issue. Perhaps I should also revisit the inspiration that comes from many historical architectures in Berlin and Tokyo.
When it comes to emotion, it’s very personal and hard to put into words—but rather than euphoria, I value immersion and a sense of ecstasy.
How do you translate mood into rhythm?
junkie babe: I often draw inspiration from films and visual imagery. Growing up surrounded by nature in the countryside, I spent a lot of time just watching mountains, stars, and lakes. Those experiences, those memories, still shape me.
Sometimes I imagine scenes—like rising from the deep sea onto land and feeling the sunlight for the first time.Music deepens through repetition, but the experience of a DJ set is very much about the moment. That’s why I value creating a sense of narrative that brings moments of surprise within the flow of sound.
What role does physical space like MEIMEI play in your sound?
junkie babe: At MEIMEI, DJs of all ages and nationalities are active. Because it’s in Shimokitazawa, many young DJs gather there, and since all the staff are DJs themselves, we’re constantly creating parties by drawing on our own connections.
Being immersed in such a variety of sets within the limits of a single floor feels like living in a house surrounded by books—like being a child who grows up reading endlessly. That environment, where I’m always exposed to new sounds and genres, naturally pushes me toward a more adventurous sound.
What does “liberation” mean to you in music?
Ryusei Sato: It means touching the deepest parts of one’s inner self. I believe it’s an experience in which one’s outer self meets their inner self, transcending the various constraints of the human mind, body, and society.
My own party, Kaiho, incorporates various elements of these meanings to create a form that brings that experience to the dance floor.
How do you express time and nature through sound?
Ryusei Sato: The sounds I create express a time of immersion. I create sounds that allow you to forget time and lose yourself in the resonating sounds.
As for nature, rather than expressing it through sound, I incorporate nature as it is into the party, aiming to express a resonance between sound and nature.
Where does your psychedelic influence come from?
TAIGGA: It’s hard to pinpoint where exactly the influence comes from, but I personally feel that everything in nature is psychedelic. So rather than being influenced by something external, it feels more fundamental and intrinsic.
How did living abroad shift your sonic perspective?
TAIGGA: Through living overseas, I experienced everyday life that was completely different from the norms I was used to in Japan. That dissolved some of the boundaries that once existed within my own values, and I believe that has deeply influenced the way I interpret and express music.
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