Sound Revolt: I also noticed you chose to stick with the same people. The tunes by Spirit Catcher and Dan Berkson were on the ES compilation and they are also on your “3D” compilation.
Satoshi Tomiie: In fact, I didn’t know them previously. I met them by chance and we started talking about including their tunes in my new compilation. I consider CD1 to be to an extent a continuation of the Electronic Soul series. “ES” is more a peak time set and “ES-B” is similar to a set I’d play during earlier hours. CD1 is somewhere in between. I didn’t want to put any really banging sounds on it because even though a banging tune might work on a big sound system, it does not necessarily work when you play it at home.

Sound Revolt: What can you tell us about Jim Rivers?
Satoshi Tomiie: His record came in when I was putting the album together. I heard the demo and I fell in love with it and decided to include it in my compilation. It was too good to pass. I wanted to include more of SAW music in the compilation but the fact is, a lot of stuff I was looking for was already signed to other labels. I asked Audiofly X that “Stolen Goods” be exclusive for my compilation. I was lucky! I gave them my “ES” compilations and that was their inspiration for the production of the new track.

Sound Revolt: CD2 is like going down the memory lane. There are your remixes and new edits but there are no new your productions on the compilations. Why is that?
Satoshi Tomiie: Well, don’t remixes or new edits count? (laughs). CD2 is something I’m doing right now or have been doing. My latest thing is the remix of the tunes by Chab and Slok which both are on CD2 and which are coming out this month or the next month. “Tears” is my first record and as you may have noticed, is in fact a re-record of the original in which I kept all the old elements. While I was editing I tried to add some new, interesting sounds to my previous work. As in “Love in Traffic” where you have some extra sounds because I am sure people already got used to the sound they heard a couple of years ago. My reason for re-edits was that I wanted to make music more interesting. I knew people didn’t want to hear the same thing and I didn’t want to make a record which would contain only a number of old tunes.

Sound Revolt: You succeeded in making them sound more contemporary but the fact is that they are basically old tracks with music that you don’t get to hear so often right now.
Satoshi Tomiie: Well, depends on who plays. And I did not re-edit all of them. The track by the Future Sound of London is so amazing that it did not require any editing. You can try to make a track sound more interesting but sometimes it’s better not to touch it because it’s such a beautiful piece. It was the case with the Future Sound of London. It’s not that I didn’t want to touch it, I just thought I shouldn’t. It was completely different with my remix of the track by Hybrid. The record by Hybrid I re-remixed for the compilation but I had some ideas even before I'd started working on it.

Sound Revolt: What was the idea behind CD3? It’s full of beautiful, classic tunes but I do not understand how it fits into the more contemporary framework of CD1 and CD2?
Satoshi Tomiie: The music I put on CD3 I call my root music, it’s part of my background, it’s something I was very much into when I was maybe fifteen years old. CD3 tells as much about me as the other two. There are no re-edits there, sometimes I mixed tracks but sometimes left them unmixed and untouched. I consider them to be all times classics, timeless tunes. There is a lot of funk, jazz, and, despite differences, I hope they all that music somehow goes with the flow.

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