With the signature incomparable sounds, GOTH-TRAD succeeded as the producer and DJ of bass music all over the world. Celebrate 10th anniversary of his residential party in Tokyo “Back To Chill” this year, and launch a long-awaited full length album “PSIONICS” finally!! 

Advance from forthcoming album “PSIONICS”, Wax Alchemy had an interview with GOTH-TRAD. He is the customer and sound developer of Wax Alchemy since launched dubplate cutting service. Asking about his experience of UK dubstep scene and dubplate culture. The reason why he plays dubplates in these days, etc. Moreover, here are truth about exclusive dubplates release which will be included on limited editions of “PSIONICS” preorder.


[DEEP MEDi MUSIK / Back To Chill]


As a one of the originators of the UK dubstep music, Takeaki Maruyama aka GOTH-TRAD created his remarkable career all around the world. His last album “New Epoch” which released from UK dubstep prestige label DEEP MEDi MUSIK in 2012 was highly recommended from a lot of media and journalists. Since some years passed from the big buzzing of the UK dubstep, GOTH-TRAD always pursue unique explosive sounds and he had released incredible innovative music as regularly. In 2014, GOTH-TRAD launched his own label “Back To Chill” and released label compilation album “Mugen”. With celebrating 10th anniversary of his residential party in Tokyo “Back To Chill”, he releases a long-waited full lengths album “PSIONICS”! 

Advanced from the releasing of normal edition, BACK TO CHILL label is releasing special limited packages through Creative Platform. Only for this advanced release, there is the Special hand-cutting 12inch vinyl dubplate cut by “Wax Alchemy” included 2 exclusive tracks which collaborated with Japanese Rock Band “Boris” and another track featuring American experimental hiphop MC “Dälek”.

Additional 4 discs of 12inch dubplates from 8 album tracks for very limited VIP package. T-Shirts with logo designed by Japanese illustrator Usugrow. The 8 GB original logo USB stick included 10 album tracks as wav files for all packages. And all packages are included the free ticket for Back To Chill 10th anniversary party at clubasia in Tokyo which to be hold on 16th September 2016. Don’t miss this special limited editions of packages!

Mixed with All Wax Alchemy Dubplate

Wax Alchemy (WA) - You became one of the most famous bass music producer  who does “Live Show”, but at the same time  you are acting as DJ for world wide. Is there any difference between “Live Set” and “DJ Set”?


GOTH-TRAD (GT) - My “Live Sets” are consisted only with my own songs. Some sections are for listening carefully, some sections are for dancing, that’s like my Live show case. Basically, my “DJ Sets” are consisted with my own songs as mainly, too. I also play the tracks of my close producers or my label and it is fun that mixing many tracks regardless of the old and the new. Of course to give variety to my sets, I play the other one’s tracks, too. And it’s easy to find out the functionality of my own music. And it makes me clear what kind of music which I want to make and insert to my “DJ Sets”.


WA - What makes you to start “DJ Set”?


GT - When I started making beats, I don’t want to be a DJ. I played only my own music as “Live Set”. At that time in Japanse club scene, it seemed like DJs were playing other one’s music and I was not interested in doing it.


However that was in 2005, I entered the Dubstep scene and when I saw Mala’s DJ bag at the first time, there were almost only his dubplates and vinyls from his own label. I realized they are DJ but they are very unique and similar to “Live Set”.


Then, I started the party of Back To Chill at Daikanyama Saloon in 2005, I started acting as DJ,too. And also, I selected DJs for Back To Chill who produce music, too.


WA - At that time the way of DJ's playing formats were both of vinyl and CD. To play your own songs, did you need to play with CD?


GT - Every DJs were playing both of released vinyl and CDR of their own tracks with turntables and CDJ. I found a dubplate cutting studio in Japan in 2006. And I tried to cut a few dubplates there, but I wasn’t satisfied with the sound quality. So, I started to depletes at Transition mastering studio when I came to London since 2007. Most of Dubstep producers used that studio at that time.


WA - Please tell us about the story of dubplate culture in UK Dubstep scene.


GT - Between the producers of Dubstep, we exchanged our unreleased tracks each other. That was quite often. We could create the unique “DJ Sets” with my own tracks alongside those exclusive tracks. So we can create exclusive sets that can be experienced only at the party.


In this way, I could differentiate DJs playing only music came from the market and playing original and exclusive music as producer.


WA - Playing unreleased exclusive tracks and remix works were privileges of those producers! That was inevitably that producers became top DJs in Dubstep scene. How to exchange those exclusive songs or information?


GT - We exchanged as digitally. We called those exclusive tracks as “Dub”. So, cutting dubplate or just burring CDR, that was depending on DJs.


WA - By the way, do you mainly cut your songs into dubplates? or any others?


GT - Yes, basically they were my own tracks, but I cut the other one’s tracks, sometimes. At that time, 1 UK Pound was 200 japanese Yen. And 12 inch acetate dunbplate costed 50 UK Pounds that was like 10000 Yen. It was really tough situation for me because I am based in Japan. It was hard to upgrade my DJ sets with those “Dub” tracks on dubplates. And also, I had offers as both of “Live Set” and “DJ Set” for touring in Europe. It was hard for me to bring Live gears and vinyls. So, I switched my DJ style to CDJ base. Acetates dubplates weigh heavier and get scratched easily than normal vinyl.


WA - So you had DJ gigs with CDJ quite often. It is quite popular to play with CDs, files and control-vinyl in mainstream, because they are very and convenient. However your current DJ sets are shifted to all dubplates without any digital formats. What makes you like that?

GT - Since 2007, I released many 12inch vinyls from UK labels as DEEP MEDi or other labels. And released 3 LP album of “New Epoch” in 2012. At that time, I was still playing only CD. I felt contradiction about it.


So after releasing that album, I was looking at the timing to switch back to vinyl&dubplate DJ set. But there were still no good dubplates studio in Japan. Also, I was getting bored to see the numbers on CDJ monitor during DJ set…. Then, my friend introduced Wax Alchemy to me in February 2015.


WA - Yes, when I was in a session with D.L a.k.a. Bobo James, and his A&R Shuhei introduced you to me. Moreover, you based in very close to my studio, so we start cutting sessions really soon. That was only1 year experiment that I started dub cutting, and most of my cutting works were remaster cutting of Hiphop, Soul, Funk and Rare Grooves. The cutting of original songs by producers were not often for me.


GT - Yeah. I thought Dubplates were well known in Dub, Reggae or UK Jungle and Dubstep scene. So, remastering old songs and cutting them on dubplates which were fresh direction for me. I just knew that is another meaning to exist of dubplate. 


WA - Yes, that was the dubplates of Rare Groove scene. Therefore, You were my first big customer who produces songs like including 30hz to 40hz of low-end madness.


GT - At first I told you that “If the sound quality of dub plates are not better than my own mastered CDR, there is no pint to cut dubplates”, hahaha. Now I am playing dubplates & vinyl, but will not refuse playing of digital format. And I am not vinyl junkie, too. The first priority is sound quality for me, of course. You cut “Sinker” and “Sunbeam VIP” for  the first time, right?


WA - Yes I remember you told me that at first time. That was nightmare for me. LOL.

My skill was not ready to cut your tracks and we know it is hardcore to cut GOTH-TRAD's tracks with enough quality of sound pressure nor volume into wax. Cartridge was skipping. The fuses were blown. That was really tough. I spent crazy amount of time to do your test-cut after you back home from my studio. I never know how many blank plates were gone by you...


GT - Haha. We blew up one hundred of fuses.


WA - I tell you that was more than a hundred, haha. At last you support WA sound development. For the cutting reference you brought many vinyls and dubplates of DEEP MEDi, DMZ and Transition Mastering Studio. When dropped the cartridge on them, I realized the differences of sound quality. I was like baptized by UK Dubstep. I was hammered the sound quality of standard cut for UK Bass music.


GT - I was very amateur about cutting. But I was really interested in it. So we learned by trial and error to use some plug-ins and so far. That was from February to April in last year. I came to your studio every week.


WA - Really appreciated that sessions we had, but was a nightmare for me at the time, because I felt your tracks are going to brake up my brand new cutting lathe. lol


GT - It is hard to judge the quality of dubplates without playing them on the proper soundsystem, actually. So we tried to cut and bring them to the venue. I thanked you that you were greedy about the sounds and tried with me together.


WA - I believed in your words that “If you could cut my songs with full ranges, you could cut any type of music”. So I tried all the beat every time. My mission was cutting of the range from 25hz to 18khz. However, A day in a BTC , I was really happy when I listened the Lea Lea’s “Black or White(GOTH-TRAD remix)” sounded same or better quality as CD on the sound-system . It was like back from the hell finally.


GT - Now, the sounds of  Wax Alchemy dubplates are mastered sounds for me. So, I think the quality are better than CDR I used to burn.。


WA - I was at your gig in Amsterdam in May. Your set was sounding hyper! There were good DJs too but your songs sounded best of them. My Dutch friend said so too.


By the way, you had B2B with Mala at Bristol last year, how was it?


GT -  My dubplates were as good as Mala’s dubplates cut by Transition mastering studio. Mala was surprised about the sound quality and the light weight transparent plates of mine. Actually, we worked for cutting good sound on that transparent dubplate, too. Did Mala ask you to cut, right?


WA - Yeah, I got phone call from Mala iafter that B2B. He said “what was the super light weight dubplates which GOTH-TRAD played? They were very light and not acetate. Also sounded very nice!”.


Actually I cut some plates for Mala. he requested that cut as same tuning of GOTH-TRAD’s. I gained self-confidence though the sessions with Mala such as an artist who cut dubplates for long year. but also felt responsible that my dubplates to be played for a lot of audiences.


GT - That transparent vinyl dubplate was invention, indeed. Not like acetate, they are very light weight and they don’t get scratched easily. From last year, I played those dubplates through the tour in USA, Europe and Asia. They sounded very well everywhere.

And I also tried some cartridges. Now, I use Ortofon’s Elektro om. The combination of that cartridges and  Wax Alchemy’s lead wires is perfect. Never skipped.


 (GOTH-TRAD's All Wax Alchemy Dubplate Set & Ortofone Elektro OM x W.A. Headshell Wires for His DJ Set)


WA - Right, that combination was great! I use them for references and recommended to other customers.


Well, you cut not only Dubstep sounds but also Noise, Drone and Doom Metal. Never thought I cut such kind of songs. But now I can understand those kind of music.


GT - I think that listening to newest sounds/music is privilege for the Dub Cutter. Actually you can listen to my new music right after I finished tunes that before I play on my set.


WA - Your latest mix on Soundclouds contained only dubplates I cut. That was like new frontier such a song like “DEADSONG” collaborated with Boris or remix for ENDON.

 I never listened to the songs like ENDON’s “Just Like Everybody”. It was a huge impact for me, really hit me hard. The range of frequency was incredible deeper than Dubstep. Through this remix, your music get into deeper and deeper. Did those remix works influence to your forth coming album “PSIONICS”????


For next chapter of the interview will be about a long awaited album “PSIONICS”!

For celebrating my Back To Chill night’s 10th Anniversary, Back To Chill Label is moving forward with my new album “PSIONICS”.ONLY Limited packages including 2 exclusive tracks,

GOTH-TRAD x Boris “DEADSONG (PSIONICS version)” and GOTH-TRAD featuring dälek “Skin No Longer Scar” on 12inch vinyl dubplate cut by『Wax Alchemy』!!! And Limited T-shirts designed by Usugrow!

All album tracks Wav file will be in Limited 8GB USB stick with GOTH-TRAD Logo!



Dubplates : 14-16days [日本郵便ゆうパック] / Mastering : 7days


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