Meet ¥ØU$UK€ ¥UK1MAT$U: The Genre-Bending DJ You Need to Know About in Billboard JAPAN Monthly Feature

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Billboard JAPAN’s “MONTHLY FEATURE” series highlights artists and works making waves in the music scene. This month, we spotlight ¥ØU$UK€ ¥UK1MAT$U, a Tokyo-based DJ celebrated for his performances around the globe.

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In recent years, an increasing number of DJs and producers from Japan have forged their paths in the international festival and club circuits. ¥ØU$UK€ ¥UK1MAT$U stands out among these artists, amassing a global fanbase with his genre-defying style and distinctive mixing techniques. His Boiler Room performance has garnered over 18 million views on YouTube in just over a year, signaling his impact on the global club scene.

Besides performing at Coachella 2026, he has toured South America, notably playing at Lollapalooza. Billboard JAPAN conducted a remote interview while he was in Colombia to discuss his connection to the global music scene and the philosophy behind his work.

You’re in Colombia now, right? I’ve heard this is your first tour of South America?

Yes, it’s my first time here on tour. Last year was my first tour in the U.S. too. So far, I have performed in Argentina and Chile, both at Lollapalooza. I remember reading about Lollapalooza in magazines during high school, so I’m really happy to be part of it now.

What have the reactions of the South American audiences been like?

The festivals are huge, and many people have come to my sets, which is great. The fans here often sing what sound like soccer cheers while I play, or they call out my name. In Chile, during my set of Skrillex, a mosh pit broke out.

Your Boiler Room: Tokyo set played a crucial role in your rise as a global artist. It has over 18 million views now.

I’m very thankful for that. I wanted to reach a diverse audience, so I put a lot of thought into my set, and I’m glad it’s resonated with so many. I felt it went well; however, I never expected it to become this popular. Recently, I’ve been creating playlists with various BPMs, allowing me to mix seamlessly regardless of the DJ before me. But for Boiler Room: Tokyo, I knew it was a make-or-break moment, so I designed my set with great care.

I go back and rewatch it from time to time, and every time I do, I discover something new. It was a wonderful performance.

That makes me very happy to hear. I love cinema, and watching a movie a second time offers a completely different experience, and I hope my set is similar in that regard.

The last time we talked, you mentioned you’d watched director Shinji Aoyama’s EUREKA several times.

Recently, I went to see Sho Miyae’s Two Seasons, Two Strangers three times. Each time, it left a different impression on me—I noticed new details, or realized that while nothing seemed to happen, a lot was actually going on. It’s a wonderful film. One Battle After Another is another powerful film, and upon rewatching it, you perceive it differently. Summarizing the difference is challenging.

It’s heavy but humorous.

Right. There’s a lingering lightness. It’s well-crafted entertainment.

This quality also reflects in your music. Your one-hour set is extremely multifaceted.

I don’t think I intentionally infuse humor into my set, but I appreciate that you perceive it that way. I would like to introduce humor, but my focus tends to be on impact and emotion. If you find humor in it, that’s great; it resembles the style of Paul Thomas Anderson, where humor emerges from the characters’ lives rather than an attempt to be funny.

You’ve cited Ryuichi Sakamoto as an influence, and he collaborated with Alva Noto on the score for The Revenant.

Absolutely, I’ve always admired Ryuichi Sakamoto and have seen most films he’s been a part of. Describing his influence on me is a bit challenging.

I sense his influence. Especially in the layering of your music.

Perhaps you’re right. I feel I’ve improved in equalizing as I mix. I’ve practiced extensively and gained valuable insights from performing in various venues, adapting to different challenges along the way. Experience has played a crucial role in my growth.

So you practice?

I do. I experiment with mixing two songs, sometimes discovering remarkable combinations. Practice is essential, as I strive to innovate rather than repeat myself. Mistakes happen during live performances, but I try to manage them. Identifying songs that clash is part of honing that skill, which I continue to improve.

With more experience, I’ve become quicker on my feet. Your approach varies depending on the event; for instance, at a performance in Australia, I might play AC/DC, while at Lollapalooza, I’d include a song by Jane’s Addiction. For Boiler Room: Tokyo, I chose to end with a song reflecting peace, adapting my set to fit the theme and ambiance.

Your dedication to entertainment shines through. This year marks the 10th anniversary of Zone Unknown, the event you organize in Osaka. Do you believe you’ve cultivated an entertainer’s mentality over the past decade?

I think so. I’ve always viewed a DJ as both an artist and an entertainer striving to offer the audience memorable experiences. My love for music has shaped this perspective.

You faced brain cancer surgery a decade ago, which left you on the brink of death.

Yes, I have worked diligently over the past ten years. The Boiler Room: Tokyo set went viral, but it reflects my ongoing dedication. I aim to continually improve as both a DJ and an individual.

Has your focus on sound and its emotional resonance remained consistent over the decade?

That’s an insightful question. Over the past ten years, I’ve encountered many new musical styles, expanding my sensibilities. I’ve always been drawn to powerful music, which tends to resonate more with audiences, but I also appreciate delicate sounds.

Interestingly, your sets incorporate ambient and post-classical music, blending strength with softness, creating beautiful layers.

That’s an interesting observation. Sometimes, while mixing original tracks, listeners mistake them for remixes. I am guided by what feels right, which may alter the music’s essence. Sometimes things don’t go as planned during performances, but I always strive for what feels good.

Your performances express a deep joy for life and a cathartic sense of existence. Recovery from your surgery likely contributes to this, but do you also feel recent societal shifts play a role?

Yes, I do. I aim to reflect these themes, sometimes unconsciously. I hope my sets empower listeners and provide them with encouragement, especially in a world that seems increasingly dark and filled with despair. While many cannot attend my shows, I wish to make the world a bit brighter through my music.

Nonetheless, I feel fulfilled and fortunate. My international performances are facilitated by a major agency, making logistical aspects smooth. With two decades in the industry, I perceive my efforts paying off, yet I still feel underappreciated in Japan. My ties remain strong here; I favor Japan’s culinary and cultural offerings, often visiting local record shops.

You’ll soon be performing at Coachella for the first time?

Yes, I was overjoyed to receive the offer. I put my heart into every performance, especially for Coachella, where I plan to convey a message of peace. It’s gratifying to perform as a DJ at such an iconic festival, which also highlights the vast potential still untapped within the DJ realm.

This interview by Shino Okamura originally appeared in Billboard Japan.