Late night sets, for the weirdos – is there any better invitation to discover Risa Taniguchi’s music better? The Tokyo-born and raised artist is one of the most in-demand DJs in Japan, known for her relentless energy, refined sound and selection’s precision. She releases her music on labels such as CLR, Suara, Kneaded Pains or Second State, and every single one shows the versatility of her skills as a producer.
Risa’s music oscillates between nocturnal trance, mechanical sounds, emotional weight and sculpts tension between all of these elements. And in case you still feel a bit timid to let your inner weirdo express itself, let her brand new EP – „Magnetic” – help you release everything you feel, hear and think.
Risa Taniguchi is the leading force of the Japanese techno scene – formally trained piano player, she discovered the world of electronic music thanks to her friends and fell in love with the beats from the first sight. She marked her debut in 2018 with “Ambush” – an EP that gained a lot of support from artists such as Amelie Lens, Dense & Pika, Pan Pot, Perc or Daniel Avery – and continued to work on producing, mixing and expanding her artistic interest far beyond DJ-ing only. The real breakthrough arrived with the releases for CLR. “Acid Flesh EP” (2022, with Black Asteroid) and “So Loud EP” (2024) became her personal milestones and opened a completely new chapter in her career.
Today, Risa performs every weekend across the country, holds the status of a resident DJ at Tokyo’s Ohjo bldg and is the only Japanese resident at Seoul’s Undercity club. She hosts her own program on J-WAVE, one of Japan’s leading national radio stations, as well as had the opportunity to compose music for 2 runway shows of ATTACHMENT, a Japanese fashion brand. What’s more, the multi-talented artist tours regularly to Europe and US – her creativity connects Asia’s underground spirit with the rest of the world and shows her craft to the audience. Two of her 2024’s gigs – the first at Rave The Planet, and the other at Ultra Japan – are the best examples of how she commands the crowd, keeps on surprising it and provides it with a lot of wild moments on the dancefloor.
Risa’s latest material – “Magnetic EP” – was released on 26th June 2026 on CLR and makes it the 5th release on Chris Liebing’s label. It consists of two tracks only, but in this case, it’s not the quantity, but the quality that defines it. Besides, for Risa techno is more than just rhythm – it’s about capturing the emotional duality of electronic music, combining the repetitive sound with emotional aspects.
This interplay created the basis of her signature sound: focus on the darker shade of techno, the raw pulse, edgy aesthetic and, surprisingly, her own vocal samples. Both her productions and DJ sets remind me of the importance of balance in music – moments of tension, distortion and dark environment collide and create the powerful energy on the dancefloor. On the other hand, there is also the emotional touch: depth, subtle details or silence, which counterposes the wilderness and the rhythm that have been created.
Every dancefloor is ruled by its own dynamics, each night different, and Risa’s ability to catch (and command) these movements is highly impressive. Her music comes with a purpose, clarity and deep sense of understanding. Acid bass, dark techno mood, drums creating the basic rhythm – perfect for late night sets and for the weirdos to follow.
Agata Omelańska: „Magnetic EP” is your return to Chris Liebing’s CLR, actually: the 5th release on this label. How do you feel about it? And what is the story behind these 2 powerful tracks?
Risa Taniguchi: When I released my first collaborative EP with Black Asteroid on CLR, I never imagined I’d eventually release five EPs on the label. CLR has always been one of my dream labels, and I know it holds an incredibly high standard for techno. Reaching my fifth release there means a lot to me as a producer.
These two tracks represent different sides of my music. “Magnetic” is a more personal track that reflects what’s inside me, while “Masks” was written more for DJs, especially CLR fans, as a powerful club track.
You’re a formally trained and skilled pianist. How did you discover underground electronic music? And how does the previous experience influence your workflow and approach to music production?
Until I went to university, I was completely immersed in classical music. I was pretty serious, and honestly, I barely even knew nightclubs existed. Then one day, a friend from my part-time job took me to a club. I heard those beats for the first time, and it genuinely felt like my mind had been blown—I know it sounds dramatic, but that’s exactly how it felt.
I’d like to think my classical training still influences my production today, although
techno isn’t exactly known for following classical harmony! (laughs)
More than anything, I think it has shaped the way I select music as a DJ.
When you’re digging and discovering tracks for sets or podcasts, how do you know that the music is good?
I’m always drawn to tracks that don’t make me think, “Oh, this sounds like that artist, label, or genre,” the moment I hear them. I love music that doesn’t fit neatly into a single category. Playing those kinds of tracks is what makes DJing exciting for me, and I think it’s also what makes my sets feel more unique and personal.
Tokyo is your hometown, and it plays an important role in your life. At the same time, you travel regularly to Europe, US, UK or Seoul – what are the similarities and differences between your local scene in Japan and those abroad?
Of course, every place is completely different from Japan, and the opposite is also true. I actually just came back from a US tour, and it reminded me that US and European audiences are very different as well. In the US, I felt that people’s way of dancing was a bit less intense, no matter which venue I played (laughs). The energy in Europe, especially in Berlin, always amazes me. It feels like people give themselves completely to the dance floor.
One thing they do have in common, though, is that when a venue has a great sound system, people can really lose themselves in the music. I think Japanese clubs, in particular, often have very high-quality sound systems.
What is the most overused word in the electronic music industry right now – and why?
Maybe “authentic.” I hear that word a lot in the electronic music industry, and of course authenticity is important. But sometimes, when people use it too much, it starts to feel almost like a marketing term.
For me, real authenticity is not something you need to explain too much. You can hear it in the music, and you can feel it on the dance floor.
Follow & support Risa here!
WWW: https://www.risataniguchi.com
IG: https://www.instagram.com/risa_taniguchi_rs/