Loose Lips

Jossy Mitsu’s Planet J

Mood Board + Interview

Jossy Mitsu’s Planet J

Well hello there, and welcome to our second mood board article! This is a very special one, celebrating the first full, official release by the deadly sonic force, DJ, producer that is Jossy Mitsu; her Planet J EP. In the distant, murky pre-covid past, I watched Jossy spin a deep pool of experimental, confident mystery whilst opening for Maya Jane Coles, pulling my friends and I onto the dancefloor and out of ourselves. A month later, we were blasted by absolute euphoric yassss when she opening for Mall Grab in a B2b set with fellow 6 Figure Gang-member Fauzia. She was the first person I thought of when June 21st was announced, I'm so ready to watch a DJ like her stretch noise and mould it into a fresh, authentic mood, just as she's done on Planet J.

Jossy's sets balance darkness with imaginative transcendence, inspired by the video games that she discussed in our ‘Fantasy Realm’-themed Deep Cuts article way back in lockdown one, around the same time she that she made this EP. Below are four images shared by Jossy, one for each track on Planet J, followed by a chat between the two of us. Enjoy, celebrate bandcamp day by buying Jossy's music on there, and get hyped!!!!






Will: Right, so we were planning on chatting at some point this week, but in the spur of the moment I asked to interview you tonight, as we’ve just received the news that clubs should be opening in June. The first thing I listened to after the announcement was your EP's lead track Turismo, at which point I decided to take my headphones out on a walk, blasting your new and also-fantastic Valentine's Garage Mix. Before this evening I had found it a lot easier to listen to less dancey, more moody stuff, such as the Wet Play EP you recently put out as CELIIINE with the genre tag 'rain music', what was going on there? 

Jossy: When I made that stuff, Planet J had been finished for a month or two, and at that point I couldn’t and didn’t want to make anything dancey. Making Wet Play felt a lot more natural and therapeutic. All the dance stuff is so tied to playing out, I find it hard to listen to it without thinking about how much I miss the club, missing my old life. It was a different process as well, I was sampling more, and feeling more free as it’s outside of the scene I work in.

 

Yeah sometimes it’s fun to make stuff whilst thinking about handing it directly to someone, like what do I want to play to someone, but I wouldn’t want to do that all the time.

Most of Planet J was made during lockdown and not really showed to anyone except the label boss Jon Phonics, partly due to the lockdown and also my own shyness! Making club music wasn’t as doom-filled in the first 6 months of lockdown.


It’s a classic DJ thing to not play out your own tracks, but I was listening to Turismo and thinking they should lift that ban, it’s just so…

It’s a very, just, pure dancefloor kind of thing.

 

I really like the idea of dancing to classic rave music, I love the stories of the 80s and 90s, but also I really appreciate modern soundcraft and sound editing. A lot of the producers I really like, like Shanti Celeste or Octo Octa, they do what you’ve done on this track, you’ve continued some rave traditions and included some classic core samples, but it’s edited so sharply that it still sounds like it’s from the future (as those old tunes would have done back then).

When I was making it I just wanted to make something fast and very percussive. The main sound that’s so skippy and loud, I had copied this break, tried to get it to fit into the bar and selected a shorter area by accident, and basically did it wrong, which ended up making that choppy, off-beat loop.


Yeah that sounds more like early Detroit Techno, where they’d use bits of hardware that were each on their own clocks, so the elements would be continuously grounded but also off-beat. It sounds like driving really fast, (or atleast I imagine it does, I can’t drive)-

-Gives it a bit of swing almost.

 

Exactly! You said that your tracks are tied to DJing, but they’re also inspired by other stuff, hence the name Turismo?

Yeah I played a lot of games when I was younger, I think Gran Turismo was probably the first driving game I played, and then the picture I sent you was from a game called Midnight Club 2 which I played soooo much with my brother, you race gangsters and work your way up in different cities. There are some car sounds buried in Turismo, representing speeding through cars and racing, it’s just a really aggressive fast track. In the summer I bought a PS4, and was thinking a lot about how I used to play a lot of games, and it wasn’t something I’d do with friends or play FIFA online or anything, so I stopped playing as much. So yeah I got back into it and was playing really random games, like Spiderman, God of War, Cod and Assassin’s Creed.

 

As a teenager video games exist in a similar place to dance music; they can feel really cool, it’s what older kids do, it’s fun but also artsy and technological, and like a good DJ set it can be anything, the plots are more crazy then the stories you get in films or tv. 

Especially with Midnight Club, they’re kind of set in a night-time city, being someone that lives a lot of my life out and about at night, going to clubs etc, it’s a setting that is in my head a lot. With the artwork that Kerrie made, I sent her a holiday picture that I’d taken at dusk, which is my favourite time of day, when it’s getting dark and cloudy, and you can see all the lights from cars and buildings.

 

It almost reminds me of like, when you’ve had a massive storm in the day, and then when the sun comes back out you get these crazy contrasts. I love walking around massive fuckoff cities like that.

100%, it’s one of my favourite things to do, kind of just like, get lost. The picture was taken at maybe 7 or 8pm in Hong Kong. It had been a sunny day and rain clouds were coming in as the sun was going down, and all the lights from tall buildings were coming on.

 

That sounds very Assassin’s Creed, looking out over massive cities, and like, stealth. It reminds me of your contribution to Fantasy Realm, I loved that amazing frenetic acid tune you shared, A Place Called Acid (Indigestion Mix) by Rennie Pilgrem, gritty but also escapist. You said that you’ve been struggling to listen to dance music lately, has anything broken through?

Anz’ Productions Mix, I bought the tape. Here in Birmingham, I have an old banger that I use to get about that still has a tape deck, yesterday I had to go into the city centre and just played Anz all the way there and back which was really nice and super inspiring. I also find it great to play things analog like either tapes, CDs or records to really switch off and not have a screen controlling everything!


I can imagine, it’s a sick mix. Anyway today is about YOU, let’s finish off by talking about the images you shared to go with your EP’s tracks, starting with Odyssey.

When I was making that track I imagined myself in a spaceship, slowly moving through pitch black, and then suddenly there’s like a planet right in front of me, and it gradually gets more detailed.


And the planet that’s up ahead of you is… Planet J?

Yeahhhh??? Pretty much, yeah.


Sweet, then the next track is named 1997.

The image with the heads is from a really good London party called Unit B1, this particular image is from a few summers ago... When I made the track I was thinking about those ravey, spontaneous nights when I’d end up somewhere unplanned and have the best time.


There’s a human positivity to that, reflected by those two faces smushed together.

Yeah, that’s their logo, so it would be projected on the warehouse wall and spinning around all night.


And then after track 3, Turismo, the final track is called Ø

Yeah, it’s named after the Hyperdub night, the last rave I went to at Corsica Studios, I always hear great music there, it was Teki Latex b2b Betty, so great. I came up with the name when the track was about 70% done, as I’d envisioned that dark room and sound system when making the main loop of that track, which is quite squelchy and stripped back.