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OE “Early Techno Works 9697” Out on June 7, 2024

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Home > Topics > OE > OE “Early Techno Works 9697” Out on June 7, 2024
Categories: OE. Tags: Release and Digital distribution. Formats: Video.

“Found and Reconstructed”

“Early Techno Works 9697” is a rare collection that primarily features unreleased tracks crafted in 1996, when Tatsuya was fully immersed in music production, and 1997, just before his debut as Captain Funk with the album “Encounter with….”

The album includes techno and house tracks, ranging from the ones mastered newly from the final recordings in his DAT tapes to the ‘reconstruction mixes.’ These mixes, with their new arrangements, maintain the ’90s dance music atmosphere that Tatsuya has expertly captured in all his tracks. It’s a journey back in time, a nostalgic connection to the music of the past.

Contents

  • OE “Early Techno Works 9697” Tracklist
  • Album Info & Credit
  • Downloads & Streaming Services

OE “Early Techno Works 9697” Tracklist

OE - Early Techno Works 9697 1. Warning (Reconstruction Mix)
2. Don’t Stop Now
3. Across the Ocean
4. Metro Cruiser
5. Rattlesnake
6. Rolla Costa! (Reconstruction Mix)
7. Terminal Velocity
8. Crash and Burn
9. Neuroscience
10. Eruption
11. Wormhole
12. In the Mood


Album Info & Credit

Artist Name: OE
Album Title: “Early Techno Works 9697”
Release Date: June 7th (Fri), 2024
Format: Digital (No physical release)
Cat No: MEOE-1029
UPC Code: 198500739299
Label: Model Electronic Records
All tracks composed and produced by Tatsuya Oe (NexTone/JASRAC)
Art Direction: Passion Yoko

Tatsuya Oe / Model Electronic Records · OE – Across The Ocean (from "Early Techno Works 9697")

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ReleaseDigital distribution
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Tatsuya Oe Updated: December 12, 2025

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Microblog

No Title
31 January 2026

日々の業務でAIChatは色々と使っているが、音楽制作のアイデア出しや作曲ツールとして使うことはない。僕が惹かれるコードの響きやリズムのシンコペーション、「間」の取り方、そして展開の予測不能さは、AIが目指している方向とはまったく異なるし、AIにアドバイスされるのも困る(笑)。これは老子の言う「無用の用」なのかもしれない。役に立たない(=AIが「攻略できる」と興味を示さない)ものこそ、侵食されずに生き延びるということ。

Dark Model – Labyrinth (Short Edit) #neoclassical #chambermusic https://www.youtube.com/shorts/_gxKDkvdgHg

No Title
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

No Title
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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