Spinning real, the return of vinyl DJ culture in Taiwan

In an era when digital music is fully ubiquitous and the barriers to playback continue to fall, the role of the DJ can appear increasingly lightweight. With a laptop and a controller, it is now possible to carry an entire night of music in one bag.

Yet in Taiwan, a group of DJs, venue operators, and listeners continue to place vinyl records at the center of performance and listening. This choice is not driven by nostalgia or collecting alone, but by a commitment to the essence of music, performance, and taste.

Barriers

DJ JJ, a well-known electronic music DJ in Taiwan, has more than three decades of experience, spanning from the disco clubs of earlier decades to today. Often described as a living archive of Taiwan’s DJ history, he also runs Blue Records in Taichung, the island’s only shop that combines vinyl records with audio and DJ equipment sales and repair.

JJ told TCN that choosing vinyl as a performance medium inherently demands more complex skills and knowledge. DJs must master intricate techniques, invest in equipment, and build a physical record collection, all of which require a significantly higher music budget.

“These things take much more effort,” he said.

DJ Monster, a DJ with more than 20 years of performance experience who is also a veteran PA engineer, told TCN that the threshold for learning to DJ with digital music is now very low. Vinyl, however, is different.

According to Monster, vinyl performance requires attention to many details and techniques, from turntable stability and stylus condition to record storage and precise live operation. Only with sustained time and effort can a complete and fluid musical journey be delivered, Monster added.

Because of this investment, JJ has observed that DJs who choose vinyl tend to place greater emphasis on the core of the music itself. This dedication is also reflected in what audiences can see.

JJ noted that digital playback offers almost nothing visually, leaving audiences with little feedback from the stage.By contrast, JJ mentioned, vinyl has a clear physical presence, with spinning records, contacting needles, and machines producing sound through visible motion.

This process provides audiences with direct and fundamental sensory stimulation, JJ said. 

Monster agreed, describing how a record spinning on a turntable creates a visual sense of interaction between the DJ and the music.

Both JJ and Monster have previously been invited by the National Taichung Theater to perform vinyl DJ sets at the venue. 

Monster recalled that staff and members of the public often stopped to watch out of curiosity, and many approached the DJs to ask questions when they saw vinyl being used.

Why vinyl?

Today, vinyl DJ systems generally fall into two categories. 

Monster explained that one approach is the traditional system using only physical records, while the other is DVS, or Digital Vinyl System, which uses specially encoded records to control digital audio files on a computer and allows DJs to retain the tactile feel of vinyl while benefiting from digital convenience.

DJ Yue, a 28 year old DJ and entrepreneur with years of performance experience, has consistently chosen vinyl as his primary medium. 

He told TCN that the decision to use vinyl is closely tied to whether one is a full-time professional DJ. For most commercial DJs, the cost of buying records and the time required to manage them are real burdens.

“But I don’t make my living as a DJ,” Yue said.

Because of this, Yue said he has greater freedom to pursue his own ideas by challenging himself to achieve digitally associated effects on vinyl systems, despite the need for additional equipment and more complex operation.

Yue described vinyl as intuitive and direct, with the position of the needle corresponding exactly to the sound being played. That immediacy, he said, is difficult for digital systems to fully replace.

JJ said that DJs who started with vinyl often develop a deep emotional connection to records, making vinyl listening feel entirely natural. 

Monster added that although he now works with both vinyl and digital formats, when he truly loves a release he still wants to own it on vinyl. And if given a choice of performance format, vinyl remains his first preference.

Venues

As in other parts of the world, the convenience of digital music has also made vinyl-based performances increasingly rare in Taiwan.

JJ noted that vinyl is now less common at large scale events and is instead more often found at privately organized gatherings or regular daytime activities outside of nightclubs, such as bookstores, cafes, or art exhibitions.

Monster said that vinyl DJ performances in Taiwan usually appear in venues with a stronger emphasis on performance, such as visual or creative arts spaces, cross disciplinary collaborations, or well-known cafes. These venues favor vinyl for its richer performative quality, though such events remain very limited in number.

The Quest

Against this backdrop, Quest stands out as a rare venue centered entirely on vinyl in the digital age.

Located in Taipei, Quest defines itself as a modernist Taiwanese listening bar and a cultural institution built around intentional listening, modern minimalism, and disciplined hospitality.

One of Quest’s owners and its music director, Mike Veldstra, is a filmmaker with a Dutch father and Taiwanese mother who was raised in the Netherlands and has many years of DJ experience.

Mike told TCN that Quest operates exclusively with vinyl. 

Mike went on to say that during the day it functions as a cafe and at night it becomes a listening focused bar. Because the team recognized that good music naturally inspires movement, the space was designed with room for dancing rather than being filled entirely with seating, unlike many traditional listening bars. 

“Our focus is still on the DJ,” Mike said, “but we’re not a nightclub. It’s a place where people can naturally come to dance and feel happy.”

The decision to center vinyl was shaped not only by circumstance but also by Mike’s views on music. 

He said digital music has made access so fast and convenient that it resembles fast food. As music arrives quickly and disappears just as fast, it can be difficult for listeners to truly absorb what they hear.

Vinyl, by contrast, forces people to slow down and sit with the music, Mike said. 

With Quest’s high end sound system, some guests bring their own records and discover details they had never noticed before. Rather than prioritizing speed and convenience, the venue chose to focus on quality, Mike mentioned.

This approach is reflected in customer feedback. Mike said return rates are extremely high, with nearly every guest coming back, often bringing friends the very next day. Some guests, after watching DJ performances, have even begun buying vinyl themselves and later bring their records to Quest to share, Mike added.

Running a vinyl only venue also comes with challenges. Mike noted the main difficulty lies in curation, as Taiwan experienced a gap of roughly 10 to 20 years in vinyl DJ culture and Quest requires all performances to be done on vinyl. 

“Almost every week people ask if they can play here,” Mike said. “The first thing I ask is whether they have vinyl. Ninety percent of the time, that’s the end of the conversation.”

As a DJ himself, Mike sometimes steps in as a backup performer. "If someone cannot make it at the last minute, I will step in, or if the vibe feels right, I might want to jump on the decks," Mike added.

Records

For vinyl DJs, access to records remains another challenge. 

Yue said that while obtaining vinyl or second-hand records is relatively easy for DJs abroad, the situation in Taiwan has been different. Recently, however, more record stores have begun offering diverse selections, gradually opening up the vinyl market.

From his long-term position at the front lines of retail, JJ has observed that a significant portion of vinyl buyers are drawn in by DJs. 

At Blue Records, inquiries about home turntables and DJ turntables are roughly evenly split, JJ pointed out.

JJ said many music listeners are attracted by DJs even without any immediate intention of becoming one, showing strong interest in how vinyl systems are operated and a latent appeal toward DJ equipment. Based on his observations, at least 10% to 20% of vinyl buyers eventually try DJing themselves.

Vinyl DJs will not die out

Monster believes the future of DJs will likely split into two paths. One is a fully digital and commercially oriented scene that may face declining value as technology becomes increasingly standardized. The other leans toward art, underground music, and cross disciplinary collaboration that continues to use vinyl as its main medium and remains smaller but with higher potential value.

JJ views the vinyl market as cyclical, describing it as a process of convergence and divergence, rise and decline, and renewal. He said he believes vinyl is still enjoying momentum, remaining advantageous for sellers and likely to stay strong for several more years.

Mike said the most important change he has observed is that younger generations prefer things they can see and hold. He said one drawback of digital formats is that everything exists only on a screen, leaving little tangible to keep even after significant spending.

Many people now buy vinyl even without owning equipment to play it, he said, simply because they like it or want to show support.

Yue offered a different perspective, focusing on brand building. 

He currently runs a brand called Purpose Analog. According to Yue, the message is that real DJs play vinyl. The brand also serves as a bridge between Taiwan and the international scene, inviting not only local vinyl DJs but also international vinyl DJs to perform in Taiwan. 

“Most audience feedback has been positive,” Yue said.

Vinyl DJ culture may no longer be mainstream, but across different corners of Taiwan’s cities, it continues to tell its story in clearer and more distinctive ways.