A Japanese beast, he has made a name for himself through incendiary sets at festivals such as Berlin’s Atonal, as well as several performances miraculously recorded and available on the usual web feeds. Unparalleled in Osaka’s music scene, chaos and magic meet in barely imaginable ways in each presence behind the decks. Infusions that go from industrial to noise, from rap to soundtracks, from 8-bit to techno and so many other landscapes that emerge when alchemy happens. Genuine iconoclast, or even shaman, of our days, the music seems to jump from the players to the outside; by the volume, by the equalization and, above all, by the cosmic alignment with the unknown. Yukimatsu thus finds creative space in this unusual and hallucinated referential amalgam, guided by passages and choices little or not at all given to the puritanism of the great dancefloors. Already on the fabulous mixtape Midnight Is Comin’, he harbours this cosmology in a simmering ascent. Bubbling and infectious, the journey brings a more contemplative side, if you want to describe it that way, of Yukimatsu. Appeal to the senses remains the key – and here it seems to move from muscle to bone.
When in 2019 he passed through Aquarius, a trail of stardust was left behind. Years later, it steps on stage again to vivid calls, of various global sound echoes and the certainty that it will be a singular experience, for body and mind, in this new collective testimony.