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Tatsuya Oe (Captain Funk/Dark Mode/OE)
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MER – Undercover Man (Visualizer)

Home > Video > MER – Undercover Man (Visualizer)
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      • Anti-Crime Breaks
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Language:

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Categories: Anti-Crime Breaks. Tags for Video: Jazz-Funk.

This mysterious, driving soul funk track features a brass section, saxophone solo, organ, wah guitar, vibrant bass on the deep funk drum & percussion grooves.

– Keywords for this track –

Groovy, Psychedelic, Wah Guitar, Brass/Horn Section, Saxophone, mid 70s, Mysterious, Energetic, Reto, Disco, Gritty, Funky, Uplifting, Percussive, Driving, Instrumental, Captain Funk, Tatsuya Oe
BPM: 120

– About “Anti-Crime Breaks: Thrilling and Badass Jazz Funk Tracks ” –

Model Electronic Records, led by Tatsuya Oe (aka Dark Model / Captain Funk / OE), releases a new album under the moniker of MER. “Anti-Crime Breaks” is a collection of thrilling and badass jazz-funk and breakbeat tracks reminiscent of soundtracks from the late 70’s crime action and detective movies. Get your adrenaline pumping with this energetic funk music, which is way more than just “retro.”

Album details: https://s.tatsuyaoe.com/3eIhdKY

Artist Name: MER
Album Title: “Anti-Crime Breaks: Thrilling and Badass Jazz Funk Tracks”
Release Date: August 23, 2021
Format: Digital
Product No: MER-3006
UPC Code: 755491208199
Label: Model Electronic Records
All tracks composed and produced by Tatsuya Oe (NexTone / JASRAC)

– Streaming and Downloads –

Apple Music
Amazon US
Spotify
Bandcamp
Details & other links: https://s.tatsuyaoe.com/3eIhdKY

– Sync Licensing –

For inquiries about obtaining a sync license of this track for your video project, please read our license guide carefully and contact us via License Request page.


You might also be interested in:
    MER - EmergencyMER – Emergency (Uplifting Jazz Disco Funk/Fusion/late 70s) MER - Monkey BusinessMER – Monkey Business (Visualizer) MER - ShakedownMER – Shakedown (Visualizer) MER - Break to KillMER – Break to Kill (Visualizer) MER - Brooklyn MamaMER – Brooklyn Mama (Visualizer)

Tatsuya Oe Updated: February 19, 2022

Microblog

No Title
31 January 2026

今から22、3年前、モーリー・ロバートソンさんの自宅で EMS Synthi A というスーツケース型シンセの実物を初めて見た。その後、新宿のリキッドルームで爆音ノイズのコラボ・ライブをさせていただいたことを思い出す。僕が日本を離れた後、モーリーさんの博識と洞察力、そして温厚な人柄が広くお茶の間に浸透し、その多才ぶりがさらに開花していくさまを頼もしく思っていた。心よりご冥福をお祈りします。

EMS Synthi A Rare Vintage Analog Synthesizer https://youtu.be/7DnELcaVGpk

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

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