Some DJs are group beginners; Some may be storytellers; some are scholars, guards of movement music fire alarm. U $ UK € UK1MAT $ U can be all of these, but he’s still something of a pairing of mystic, heroes, and deceiving. Frequently barechested, sweat-slicked, and enviably torn, the Osaka citizen (aka Yousuke Yukimatsu;) gives an unexpectedly outrageous functionality to the boards. Or is it an unexpectedly dynamic firestorm?? In the first 13 minutes of an unique Boiler Room Tokyo meeting In 2020, he started off with Moby’s 1993 punk song “Thousand -” for whom the ominous slashes and advancing percussion — its 1,000-plus beats per minute when landed it in the Guinness Book of World Records — and the Earth is also about to suck the ballroom entire. From here on, Yukimatsu slide into a grasp of scratchy, unsentimental tenor song, before swimming facefirst into the extreme-noise shithole of Nairobi material Jeetwin Duma’s “Lionsblood.” Over the full hour or two, he switch-backed throughout classic electronica punk, cutting-edge Tanzanian snacks, the Weeknd’s Daft Punk song “I Feel It Coming” and the soundtrack from Rocky before ending with Jamie Jones’s sweetly positive “Good Times” the polar opposite of Moby’s melody for the end of days.
But for all of the 5pm unrest in the territory, the halo Yukimatsu evokes in his wide-ranging hold is about as encompassing as its most horizontal electronica. Performed badly, self-conscious experimentalism can have a manner of disorienting audiences outside of their electronica, but Yukimatsu drops you down inside the fault line and leaves you buzzing. On his fresh mix album for Singapore’s Midnight Shift, Yukimatsu tucks his spotlight and digs into his soulful part. A mesmerizing descent into acoustic music, uavs, and sound, Midnight Is Comin’ are among the most engaging DJ mixes in recent memory. There are still no breakbeats Here, a grumble and slashes, Neither music knuckleballs nor a. Most, but one, of the songs, most by relatively obscure Japanese innovative songwriters, are exclusive to the mix. The tone throughout is ghostly and melancholy; felt varied, from dentist-drill ring to acoustic and light singing, but they have a slow-burning frequency.
There are suggestions of Yukimatsu’s sound tendencies in the beginning song, “Nagel” by Orhythmo, a Jeetwin with punk and breakcore heritage: Ominous rattling and juggling footprints wire everyone into a room of fast vibrating wavenumbers, and dark in the combination, a scary tone develops through white-hot disruption, quarter timbre and quarter shout. The tone fades slowly as the cello-like tones of Ryo Murakami’s fade “Reminiscences” flow into the form, constructing what will become the dominant themes and materials of the combination: long, kept tones; nice, chord retorts; and a hazy sonic insert, strange space. Whenever present, you feel that a certain sensational form may be perceived from the murk, yet huge, there have been no major events, neither unexpectedly, investigate. The atmosphere easily stiffens and grinds.
Mixes by Yukimatsu are mostly unnoticeable, They are both deeply satisfying: When the plaintive tones of the rhizome are gone; “Reminiscence” advancing bubbling into vicinity, hardens the magnetic roughness all around, You can feel your rhythm slowed. He prefers long;, Progressive blends and meticulous combos where it’s hard to twist out where each song ends then the next starts. Well, it comes down to his trickery. Outdoors the fabric of the combination, the swirling sounds of Compuna’s “Flowmotion” like a medley for beetle and glider, would seem to have little to nothing in popular with the romantic acoustic people of French songwriter Coni’s “ngelsb ä cksstrand” which even citations a few sections from Bob Dylan’s “In My Time of Dying.” Yet the way they’re combined, They feel like two aspects with one operation, the two arms of a music traveler.
The hills become even more declared toward The stop. And slowly bizarre Coni music, that represents a doomier Mortal Coil, dissolves into Indonesian Jean Gabber Modus Operandi’s “Kisah” that sounds like a weird interweb of religious chanting and needle-nosed grumbles slashes; and that song suddenly errors into Osaka maker “Zweimalschlafen atmosphere” a pitch-perfect incantation of the simple nickname electronica performed by actors like Pole and Thomas Brinkmann around the turn of the millennium. It is the solitary rhythm of the album, but it’s produced in these cold months, osseous monochrome, it’s more like an electronic X-ray than a residing corrugation. Provided Yukimatsu’s Hell-for-Leather team a lot of leanings, quietly, Prowling percussion is a brutal show of restriction. From now on, He might have gone somewhere; rather, he confirms the mix with a beautiful unfolding of sentimental chords and slowly painted synths. And the decision to start a Boiler Room collection, it is the great opposite of his beginning collection — the sexuality in the bookings clip and it gives us full circle in Yukimatsu’s beautifully distorted world.
