A conversation with Yu Miyashita; architect of the inner world.
[from Wikipedia]
“Mica refers to a group of naturally occurring silicate minerals known for their glittering appearance and ability to split into incredibly thin, flexible, and elastic layers. It is widely used in both industrial manufacturing and architectural design. They are a group of silicate minerals whose outstanding physical characteristic is that individual mica crystals can easily be split into fragile elastic plates”.
These attributes can likewise be used to describe electronic musician Yu Miyashita. Both versatile and precise, his musical output is often associated with ‘structure’. Like mica, he is multi-faceted: He runs a carefully curated record label, writes extensively, and regularly designs for special projects, all while accommodating a steady flow of commissioned work.
Having grown up in the Yamanashi prefecture of Japan, Yu was restless for an education abroad. With a foundation in Mathematics, Fine Art, Physics and Architecture, he ultimately finished his formal education at the University of Brighton, focusing on Digital Music and Sound Arts. After a combined 16 years in the UK and Berlin - and their deeply influential music scenes - he returned home. In February of this year, he released the album ‘IDM Collection 21-25 / The Structure of Silence by Yu Miyashita / Yaporigami’. The music is exceptional and accompanied by a massive essay, revealing a deeply philosophical mind at work. We recently had the opportunity to plug in…
> What brought you back home to Fujiyoshida after having such liberating experiences in Brighton and Berlin?
It was in the stars — a lot has changed since last year. I was forced to go back to my hometown; I recently started helping the family business (architecture). I've realized that I have a mission here, and now I'm on the right path.
> It appears architecture has had a strong influence on your life. Would you agree?
I studied it in the UK for a year but felt I couldn’t do it justice. Architecture has so many elements / layers to consider - light, sound, human movements, efficiency, heat, budget, air, atmosphere, material, style, legal documents, etc.… Although I'm still very serious about it I feel it’s beyond my human capacity.
> As a young person, did you like to draw and/or enjoy building models?
I didn't really enjoy drawing and/or building models because of their restrictions - gravity, etc. I prefer to create without limitations.
> Your introduction to electronic music seemed to start with games. Was there ever an acoustic instrument you wanted to learn – or had to, as a child?
I actually started playing the drums at the age of 14. I played a bit of guitar / bass as well soon after. In high school, my friends and I played Slipknot at the local talent showcase.
> Of your own compositions, which one would you put into the game DanceDance Revolution?
"Damn It, Demon" (from the Chaos Swallower EP) -- I'd love to see who can come up with the craziest moves for it.
> How do you feel about performing live? You have said you prefer having a visual component vs. Autechre’s “lights off” approach, and you enjoy having video projections. Do you feel electronic performances benefit from theatrical elements?
Since I become the ruler of time and space while performing, I do enjoy it when it is properly done, in the correct aesthetic. Autechre's ‘lights off’ approach sometimes seems more appropriate in the modern era, in terms of keeping the purity of music at its best. I still believe visuals should support the music. Not vice versa.
> How did soundtrack work come to you?
I performed in Berlin after I moved there and my partner at that time invited the film director Jeremiah Mosese. He seemed well impressed by my performance / music and I got the offer. It still feels like pure magic that I got my first ever film soundtrack commission this way.
> What were some soundtracks that influenced you; video game or otherwise?
I enjoyed ‘Final Fantasy IV’ and ‘Chrono Trigger’ soundtracks when I was young.
> What does sound design for (fashion brand) VIVIANO’s runway show allow you to do differently?
The core structure is the same but I'm doing it with more classical music elements. It definitely allowed me to see how important it was to strike a balance between what the client wants and how the audience will react to it. If the music isn’t fully received by the audience, it literally becomes non-functional.
> You describe the intention of your music as hitting the balance between extreme opposites or contradictions… what other musicians provide that same satisfaction for you?
Aphex Twin in general, however, especially The Tuss alias. Also (as AFX), the "Analord" series and "Chosen Lords".
> Is Aphex Twin one of the ‘Strong Ones’ referred to in track 13 of your latest album – it sounds like an almost deliberate homage to Selected Ambient Works vol. 2…
I didn't refer to Aphex as "Strong Ones" as he's not luckily dead yet. I seem to have very similar aesthetics when it comes to making a melody line.
> Your label, The Collection Artaud, has a healthy catalogue of releases and you are very protective of its’ aesthetic. Do you find the artists, or do they seek you out?
I usually find them. Sometimes I get approached.
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| Miyashita's Construction Zone A |
> How about for remix projects – do you offer your services to artists you admire, or do you prefer to be asked?
I'm actually not so fond of the concept of the remix, so I much prefer to be asked. Remix is something I don't think of spontaneously.
> In your extensive body of work, even in your more experimental/noise projects, you keep your name. Some would
call this brave, as the music ‘business’ historically has trouble selling artists when their output shows too much diversity. Do you think having multiple aliases are a way of hunting for commercial success, or staying hidden from it?
To me, it’s only for the sake of keeping authenticity/staying true
to the music.
> Have you released music under different aliases?
Ken Ishii and the late Susumu Yokota had several – and
obviously Richard D. James has dozens.
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| Miyashita's Construction Zone B |
Yes - I am 1/2 of Miyamasa, Signal Arrow and vvhy.
I am Yu Miyashita, Yaporigami, Allis and  .
> What is the origin of the name ‘Yaporigami’?
I resonate with the concept of Origami - a single paper that can fold in infinite ways / variations. When I picked the term - Origami, there were already 4 artists named so.
I wanted to say I am the original Japanese one > Jap(anese) Origami. Since my initial is Y and also in certain languages, J is pronounced or written as Y, so I changed J to Y, thus Yap Origami > Yaporigami. When I came up with this name, I didn't know about the YAP gene at all (a protein in human chromosomes), to be honest.
> You have a very thoughtful, intellectual approach to your work, and you treat it as a sacred space, sometimes for therapeutic purposes. Artists like Venetian Snares and Ruby My Dear sometimes season their material with humor. Have you ever wanted to introduce more playful or absurd elements in your own work? What makes you laugh?
Because of my surface persona, implementing playful or absurd elements in my work is not preferable. I'm actually a pretty talkative and funny person.
> On the subject of humor -- Have you ever heard vocalist Dokaka perform Slayer’s “Angel of Death”?
Quite impressive. I enjoyed Beardyman performing Aphex Twin's "Windowlicker" in a similar sense.
> What was the first recorded piece of music you bought?
- When I was a kid with my parents’ money (I bought) H Jungle with T - "WOW WAR TONIGHT". According to Wikipedia, this is the most sold Jungle music ever on this earth.
Single (small sized) CDs were sold at the vending machine at the time. One of my friends started singing this song continuously and it (became) an earworm, so I bought it.
- When I started a part time job with my own money, I bought My Bloody Valentine - "Loveless"
> What is, or was, your favorite karaoke song to perform?
L'Arc-en-Ciel - "Honey"
> Regarding your ‘Structure of Silence’ project – it arrives with a sizeable written component. Why did a book/essay seem appropriate for this release?
Philosophy has been a crucial aspect / caregiver for me to literally survive.
> There are several sections that seem very personal. What inspired you to share these vulnerable writings with the public? Do you want people to understand you better?
This is more like an honest confession of who I am to the world. I understand that every person has to have social / private personas, however, I prefer not to lie about myself to anyone if / when possible. Yes - I'd like to be understood, but this is not the motivation for my vulnerable writings. I believe it comes from a pure urge to express who I really am. Being understood is a totally fortunate thing to have, and everything I write now can be translated and sorted thanks to AI.
> What is your opinion on A.I.? There is a lot of resistance to it in the arts. Technology certainly plays an important role in your artistic expression, including visual design. In previous interviews you’ve said you enjoy making rhythms that no human can perform live, but do you still want the satisfaction of designing them yourself?
Yes, (but) I am greedy and want both. If AI can do a better Yu Miyashita (Yaporigami), then I might leave it to AI so I can start something new myself. I don't know. In my opinion, AI is okay so long as AI doesn't give birth to another AI. Maybe it's already happening. I'm not really keeping up on this topic lately. AI cannot have genuine pains anyway.
> Speaking of pains, another recent album of yours features an X-Ray image with your name on it. Can you discuss?
I got hit by a car at the end of April 2024 in Berlin while I was crossing the road.
I lost consciousness and could be dead I guess. The large bone in my right arm was 70-80% fractured, so I needed to have this metal (in X-Ray) installed. I recently managed to have the metal removed -- now it's my guardian necklace (ha ha).
Not all fractures are bad. In mica crystals they represent flexibility and usefulness. In Miyashita’s music, splintering and rebuilding sound is standard operating procedure. After experiencing his work, most would agree he satisfies the ‘I for intelligent’ requirement in IDM. Yu has a cerebral message, but the result is still danceable - if you have extra legs.
Read the full review of the album
> IDM Collection 21-25 / The Structure of SilenceTo learn more, go to https://underarrow.com
