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Tatsuya Oe (Captain Funk/Dark Mode/OE)
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Dark Model – Inferno Suite (from “Saga”)

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Home > Topics > Dark Model > Dark Model – Inferno Suite (from “Saga”)
Categories: Dark Model and New Tracks. Tags: Saga. Formats: Video.

Apocalyptic and uplifting “Inferno Suite,” which is included in the latest album “Saga,” was composed as a self-contained “suite,” a sequence of short musical dramas. I came up with the rough idea of this track long before I undertook the Saga project. Still, I ended up spending much time solidifying the structures of each piece so that I could incorporate them into a thematic song, in other words, one story. Hopefully, you will feel excited about how the story plays out on this track.

By the way, from the song title, many of you may think I was inspired by Dante Alighieri’s (or Dan Brown’s Dante-inspired) “Inferno.” However, none of these have anything to do with my inferno experience. Do you know a 1974 American action disaster film “Towering Inferno” and The Trammps’ disco hit song “Disco Inferno,” which was featured in a ’77 phenomenal film “Saturday Night Fever”? Both are two of the most memorable and symbolic embodiments of American culture in the ’70s, which gave me vivid impressions as a kid living in Japan. It was much later than those experiences when I knew Dante’s the Divine Comedy.

Here are some reviews which described this track. Hopefully, you will enjoy these articles as well as the music.

“The following track “Inferno Suite” has a choral beginning that really gets listeners into the moody appeal of the piece. The racing, fast beats sets up the pace for the radically massive structure of the entire work. The electronic beats backed by an orchestra is fervent with an energetic vibe and surmounts from the addition of choral layered harmonies.”

(My Nguyen, The Celebrity Cafe)

“Our protagonists have set off from their home to fight evil, rescue the captives and return victorious. The heavy choir ramps up in intensity to highlight the dire nature of their quest.”

(Jon C. Ireson, Music News)

“The next song, “Inferno Suite,” features a larger-than-life choir and electronic bass clocked in a maximum. It’s a track that will easily pump up anyone working out to go the extra mile.”

(Isiah Reyes, Enter the Venture)

“Norwegian black metal band Dimmu Borgir meets Adam Ant in 1982 came to my mind.”

(Susie9mm, MIPR)

(I hadn’t known the band until I read this article.)

BPM: 135 (Various)
Keywords: Choir, Suite, Uptempo, Dramatic, Dark, Heavy, Apocalyptic, Industrial, Percussive
Composed and produced by Tatsuya Oe

These tracks are excerpts from Tatsuya Oe’s composition and production works. Regarding media synchronization such as advertising, film/TV, and video games, third parties must obtain proper commercial licenses prior to any usage of the musical works contained herein which are considered to be protected musical works. Please contact us via License Form to obtain a license. Several tutorial pages for music licensing are available as well.

 


You might also be interested in:
    Dark Model - Storm GoddessDark Model – Storm Goddess (from the new album “Saga”) Dark Model - SagaDark Model – Dawn of Resurrection (Anthemic Finale of “Saga”) Dark Model - SagaDark Model – Survivors (from the new album “Saga”) Dark Model - AvalonDark Model – Avalon (from the new album “Saga”) Dark Model - LabyrinthDark Model – Labyrinth (from “Saga”)
Saga
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Tatsuya Oe Updated: December 12, 2025

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29 January 2026

アメリカにいると特に、「価格」と「価値」は全く別物だということを思い知らされる。このコラムにもあるように、もはや古典的なミクロ経済学の概念は殆ど意味をなさない。だが音楽ビジネスがさらに絶望的なのは、作り手側から「価格決定権」が完全に剥奪されてしまったことだ。プラットフォームやテック企業を非難するのはたやすいが、音楽業界側の脇の甘さと怠慢が招いた、「知恵比べの敗北」であることは否定できない。

価格は消費者からむしり取る手段となった | 小幡績教授のアフターエコノミクス https://toyokeizai.net/articles/-/931184

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28 January 2026

僕がプロとして音楽を始めた頃、ダンスミュージックの魅力の一つに「匿名性の面白さ」があった。DJがスピンする曲で盛り上がっていても、どの国の誰の曲か分からないし、そんなことに関心を持つ気配もない。DJブースの場所や、誰がプレイしているのかすら分からないこともあった。その晩のヒーロー/主役はDJではなく(グルーヴや音の響き、ストーリーなど、すべてを含めて)「音」。Ron TrentのDJは、そんな純度の高い音楽体験を提供し続けている。

Ron Trent | Boiler Room Festival: New York City 2021 https://www.youtube.com/live/R2S5tJzqEmY

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最近のUK/USインディ・レーベルの音をチェックしていると、「インディ」とは思えないほど、新人でも随分豪華なミュージックビデオ(MV)を作っている。複数のAIに「販促・宣伝費はどうやって捻出するの?」と聞いたところ、「実質的にはアーティストがレーベルにローン(前借り)する形です。アーティストは“リスクは最初に負い、報酬は最後に得る存在”なのです」と返ってきた。そうした世界とは無縁に、音楽業を30年、レーベルを20年続けてこられたことは奇跡かもしれない。

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