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Compilation Album “Kibou” & Demolition Disco “Big Mama” Remix

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Home > Topics > Captain Funk > Compilation Album “Kibou” & Demolition Disco “Big Mama” Remix
Categories: Captain Funk and Awards/Charts. Tags: Release, Remix, Chart, and Digital distribution.
Jun 3, 2011
Demolition Disco "Big Mama EP (Part-One)"

Tatsuya participated in the Japan charity compilation called “Kibou” which was released from Elektrax Music (Australia). Including this album, they released 4 compilations, and very many electronic musicians contributed their tracks to join this project (please refer to their website). All Beatport sales of this compilation will be donated to the Japanese Red Cross Society to aid the people of Japan.

Tatsuya’s contribution track is “Let the music take control (Instrumental Mix).” The original version of this track was produced while making Heavy Metal and Heavy Mellow albums, and Tatsuya polished it again for this participation.

This compilation got ranked No.1 at Juno Download chart in Mid-May. Please drop by Beatport and Juno Downloads to listen to them!

Elektrax Music “Kibou” page

Electrax_Kibou

Next news is regarding German Electro unit Demolition Disco’s “Captain Funk Epic Suite Remix (Riot Riot Records).” While the original mix has pretty modern tribal & bleepy Electro style (which is great), Tatsuya dared to take a different approach by adding more cinematic and spacey/cosmic atmosphere. And it ended up with 10 minutes remix, the longest one he has ever done.

Hopefully, you will take a listen to it at Juno Downloads and enjoy all other cool remixes (StereoHeroes, Aerotronic, Junkietron) as well. Also don’t forget to check out the impressive video of “Big Mama.”

Juno Download Link: https://www.junodownload.com/products/big-mama-ep-part-one/1733639-02/?trackid=5

Demolition Disco “Big Mama (Captain Funk Epic Suite Remix)”

Demolition Disco “Big Mama (Original Mix)”


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ReleaseRemixChartDigital distribution
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Tatsuya Oe Updated: February 17, 2022

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No Title
2 November 2026

先日紹介したアビング氏の本では、ポップスターと貧乏な芸術家の対比が強調されていたが、実際は(欧米では特に)、世間の言うスーパースターは「スーパー破産人」であることも少なくない。エンタテイメント・ビジネスというのは結局のところ「人と金」の問題だから、ここに無頓着だったり安易に人任せにすると、スーパースターですら「そうめん流しの最後尾」になり、手元には借用書だけが残る。このビジネスの、創作以上にタフな「盲点」でもある。

ティンバランド、元マネージャーらに対し1500万ドルの詐欺訴訟 https://www.digitalmusicnews.com/2026/11/02/timbaland-lawsuit-former-managers/

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1 November 2026

「職業は他人から規定されるものではない」と書いたが、組織人は割り当てられたスロット(仕事内容や責任範囲)で規定される。ただ、その枠組みがその人個人の可能性を規定するものでは勿論ない。肩書でも病気名でも、人は名前を与えられるとその定義へ自分を収斂させてしまう暗示効果がある(ラベリング効果)。どうせならこの習性を、自分の可能性を広げる方向に使いたい。ただし中二病とラベリングされないよう控えめに(笑)。

マスク氏に新たな肩書、テスラの「テクノキング」:AFPBB News https://www.afpbb.com/articles/-/3336919

No Title
1 November 2026

職業としての「アーティスト」の仕事の大部分は宣伝、ライブ、マネジメントなどのコミュニケーション、つまり「人」。作品創りは必要条件であっても、決して十分条件ではない。人に左右される部分を減らすシステムも工夫次第で可能だが、結局は「作品を創るだけ」では職業として成り立たない。それは芸術家に限らず、板金工も農家も、みうらじゅんさんも同じ。職業とは他人から規定されるものではなく、自分で創り上げていく「環境」なのだと思う。

「ない仕事」の作り方 (文春文庫) | みうらじゅん https://link.amazon/B05aGXHeP

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