Gacha Medz Talks Alkaline, Energy and Bridging Japan-Jamaica Through Dancehall

Exclusive: Japanese dancehall producer Gacha Medz talks Alkaline’s NPT, working with top producers and bridging cultures

Gacha Medz (L) alongside Silent Addy, Creep Chrpmatic and more in the streets of Kingston

Japanese dancehall producer Gacha Medz is celebrating his latest production contributions to Alkaline’s NPT album, marking another milestone in his growing influence within the genre.

In an exclusive interview with Kaboom Magazine, Gacha Medz opened up about his journey and creative evolution over the years, highlighting his strong working relationship with Alkaline.

“I’ve worked with Alkaline on about four tracks so far, and I often feel like he genuinely connects with our riddims - like he’s picking up on a certain energy we’re putting into the music. When it comes to songwriting, I always get the sense that he has a very clear vision. He’s not just voicing on a track - he’s actively involved in shaping the direction of the song, almost like he’s co-producing in his own way.”

He noted that much of their recent work, "As A Matter Of Fact," has been done remotely through file exchanges, but the results continue to surprise him. “Every time he sends something back, it’s always something I’ve never heard before -  new melodies, new flows. That unpredictability makes the whole creative process really exciting for me.”

The response has been strong, with particularly positive feedback coming from Japan, where sound systems in Tokyo, Osaka, Sapporo, and Okinawa have been giving the track heavy rotation. However, “there hasn’t been as much reaction from the local side = particularly from sound systems and radio in Kingston. It feels like the response there has been a bit quieter so far,” he pointed out.

Gacha Medz is no stranger to the dancehall space, with notable credits including the production of “Beat Dem Bad” by Vybz Kartel featuring Squash, a collaboration produced alongside Silent Addy of Miami. Reflecting on his experiences, he shared, “A lot of the top producers have already established themselves not only as artists, but also as strong businessmen… I’ve really come to appreciate their mindset beyond just music.”

“What stands out to me is their character - their sense of responsibility and how they carry themselves. It’s not just about making hits,” he added. “Many of them take care of their families and support the people around them, their immediate communities.”

“Jamaica has truly taught me patience more than anything. Being in Kingston keeps me constantly inspired - especially by the new wave of dancehall.”

Born Yu Sagayama in Sapporo City, Japan, Gacha Medz reflected on fulfilling his dream of contributing to dancehall music, a journey that took a major turn when he moved to Jamaica in 2008. “Jamaica has truly taught me patience more than anything. experiencing the realities and growth of the streets is something I genuinely appreciate,” he shared. “Being in Kingston keeps me constantly inspired - especially by the new wave of dancehall. That energy never stops pushing me forward.”

“On a personal level, a big part of who I am today has been shaped by my life in Jamaica - you could say I’ve become ‘Blackanese,’” Gacha said.

During his time in Jamaica, Gacha found himself surrounded by some of the industry’s top producers, gaining firsthand insight into the craft.

 Gacha (L) with Japanese artiste Vigorman, dancehall artiste Stalk Ashley, Silent Addy and more.

“I’ve had the chance to be around some incredible producers and actually witness how they work in the studio,” he shared. “Through a connection, I was able to be around Rvssian from early on, around the time he was producing tracks like ‘Life Sweet’ for Vybz Kartel. I got to see that process up close and then watch those songs dominate the streets.”

He also pointed to Stephen 'Di Genius' McGregor as a key influence. “He always welcomed me into the studio and let me observe everything - from production to recording and mixing. It really felt like I was attending the highest level of dancehall university.”

Another major figure in his journey was Silent Addy. “Even when I couldn’t speak English at all, he treated me with kindness. The things he taught me about production, sound shaping, and musical perspective have had a massive impact on me.”

Gacha has had to adjust to the key differences between the Jamaican and Japanese scenes, particularly when it comes to tempo and energy. “One clear difference between working in Japan and Jamaica is the BPM range,” he explained. “In Jamaica, the energy usually sits between 95 to 110 BPM, while in Japan there’s a stronger appreciation for medium tempos and more acoustic-influenced sounds, so I often work in a lower range - around 80 to 90 BPM.”

As a Japanese producer embedded in Jamaica’s dancehall scene, Gacha Medz sees his role as part of a growing cultural bridge between the two countries.

“I feel like the connection between dancehall and Japan is moving beyond just music - it’s becoming something deeper, more like a cultural-level relationship,” he explained. “I feel like I’ve been able to become a bridge between the Jamaican and Japanese music scenes.”

“For example, an artist I work with, Acemark, has already done combinations with Vybz Kartel, Masicka, and Tommy Lee Sparta - that alone shows how real the connection has become,” Gacha explained.

He noted that despite Japan not having a large Jamaican population, its underground dancehall scene continues to thrive. Collaborations with acts like Vybz Kartel, Masicka, and Tommy Lee Sparta highlight how real that connection has become, while younger talents are now embracing riddims like WYFL and expressing their own identity within the genre.

Gacha has also been actively building that bridge through events in Japan. “What I focus on is bringing the same vibe I experience in Jamaica - the energy, the authenticity - and delivering that to Japan,” he said, noting successful events featuring acts like Walshy Fire, Chromatic Sound, and Jesse Royal. “Artists who come to Japan really feel that energy - they’re often surprised by how real the dancehall culture is there.”