On an unusually warm evening in December, Issam and a friend ventured to the neighborhood of Hatagaya. While sipping on a can of lemon sour, they scanned the area for a suitably crowded izakaya - one which had bar seating and an eclectic mix of patrons.

Conversations soon began with a man Issam noted for his fancy hat - a video director too, as chance would have it. After explaining Tadaima, Issam decided to accompany the video director to his favorite bar in the area, one in which he was assured to meet interesting people.

Not far from the izakaya, Rokugosakaba Bar (六号酒場） was typically Japanese in that it was notably compact. The dimly lit space was understatedly fitted with wooden interiors and Issam quickly fell in love with the new location.

Within minutes, the bartender’s best sake was being shared and conversations were started with others seated at the bar. One of whom was a very tall man with a large beard; Masahito-san.

Masahito-san shared that he was a drummer in the prog-rock band: Dhidalah, which had even toured in Issam’s home town Lyon. Common interest was peaked and the two discussed the passion they have for their art and their mutual love of music.

Masahito-san has always been part of a more underground music scene and has experimented with the rhythm and sounds of free jazz. He has always loved the power of classical music, largely due to learning classical piano as a child. As Issam had played drums as a child. He was elated to find somebody who he found to have a lot in common with, and not before long began discussing the Tadaima project and requesting an immediate collaboration.

As is key to the nature of the drums, Masahito-san said that they would be too loud for the late hour, and the two agreed to meet in the next few days to film the third episode of Tadaima in Masahito-san’s studio, the Sur Sound Studio in Hatagaya.