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Photo. Julien Cott


b. 1984 Yamanashi JP. Currently lives and works in Berlin DE.

Electronic musician, film composer, mixing and mastering engineer and DJ, also known as Yaporigami. His activities span a wide range of fields, including feature films, documentaries, commercials, fashion shows, installations, theaters, museums, and media art festivals. His works revolve around human and dualistic themes such as good and evil, sanity and madness, blessings and curses, and explores the creation of musical works that encompass these contradictory poles.

Along with the images, the score by Yu Miyashita and its accompanying sound design constitute a challenge to conventional Western film language. It’s a welcome and necessary one, I think.
- Glenn Kenny at RogerEbert

"Somehow elegantly weightless yet utterly bombed out and forceful
- Boomkat

One of the most notable contributions to cinema is the soundtrack to Lemohang Jeremiah Mosese's film This Is Not A Burial, It's A Resurrection (2019). The film premiered at the Venice Biennale and has won more than 25 awards at international film festivals, including Sundance, USA. He has composed the music for films of another:, which consists of architectural photographer Laurian Ghinitoiu and film director Arata Mori, that collaborate with architectural offices (BIG, OMA, SO-IL, etc.) and artists (Chiharu Shiota, etc.). He has produced music for five seasons of the fashion brand VIVIANO's shows.

Runs a label The Collection Artaud.


“The entire film, in fact, is made more haunting by its sound design, and by Yu Miyashita’s score. Listen to the low and scratchy drone of the music as Mantoa finds her home ablaze, and then, afterward, to the high keening of the strings as she sits amid the ashes, on her charred bedstead, with sheep nosing peacefully around her.”
- Anthony Lane at The New Yorker

"Yu Miyashita has been releasing mind bending breaks-oriented music as Yaporigami since 2006. His production prowess has become more intricate over time, with the microscopic sonic structures of his Chaos Swallower EP. Dreamy synths instigate a myriad of fluctuations on the full-bodied ‘Hello World’, and staggered pulses of noise and intermittent electronica build and build throughout ‘Damn It Demon’. Sounds are welded together across a serpentine set of tracks that swallow chaos and spew out beauty."
- Bleep

“The director suffuses the piece with an entrancing mysticism, accompanied by a spectral score by Yu Miyashita. Its sharp dissonance resonates as if it were a choir of voices screaming from the afterlife.”
- Carlos Aguilar at RogerEbert

"While the glitch pioneers tended to favour a stripped down minimalism, Miyashita takes advantage of advances in processing power to create maximalist symphonies of jittery orchestral samples, granular synthesis and dense textural wash. --- his complex creations are well crafted and worth checking."
- Cyclic Defrost

"Digital art star, beatsmith / sound artist"
- The Creators Project

"Like a dance record cultivated in the dark, nurtured away from conventional genre expectations."
- foxy digitalis

“Warm, Aphex Twin works inspired IDM Electronica”
- Hard Wax

"Esoteric excursion / A strange, hypnotic creation that sounds timeless, as if droning on for longer than you’ve been alive."
- Igloo Magazine

"Ten tracks spread over 52-minutes, here see a wide range of musical bliss shattered into hundreds of pieces. From the soothing downtempo musings of the opening track “Lotus Bloom” to the emotively charged “Sacred Tree Ring,” to the effervescent flow of “Diced Garden,” to the cascading beauty and glitch breaks of “8,000,000,” IDMMXX runs its course through a myriad of soundscapes and doesn’t let up. Elsewhere you’ll find lullaby melodies and broken beats on pieces like “Cherub, Eve and Adam” and “Music Box Film” as well as explosively shuffled percussion on “Infinity Under Palace” and “Dual Feathers.” Yaporigami brings it all home in an ode to Aphex Twin (perhaps?) on “I Care Because (I Sense) You Do” where ambient ice blossoms flicker as a serene landscape of emotion passes by our field of vision. IDMMXX is all of the above, and just a little bit more if you let it simmer. While there are many well-executed sonic ideas spread throughout, these are truly blissful IDM’esque passages worth adding to your catalog, coming from a sound sculptor who continues to fine-tune his craft."
- Pietro Da Sacco at Igloo Magazine

"The film’s memorable visuals are matched by its soundtrack. Electronic composer Yu Miyashita, born in Japan but based in Berlin like Mosese, provides the film with a musical score that frequently dissolves into static and swells into shrill, harsh tones, a sonic interpretation of the unstoppable wave that is set to wash away everything Mantoa holds dear. In marked contrast to these aggressively modern sounds."
- Lee Jutton at Film Inquiry

"A jarring mix of ethereal soundscapes and abrasive noise."
- The Quietus

“The score, in particular, is a standout for me. Japanese composer Yu Miyashita, who also goes under the name Yaporigami (great IDM in the same vein as Aphex Twin) creates a twisted, unsettling and terrifying sound collage that is unlike anything else I’ve heard over the past year in film and is a likely candidate for my favourite score of 2020. It perfectly embodies the tense undercurrent surging within Mantoa, adding a specific flavour to the film that truly differentiates itself from anything else you will see over the past year.”
- Perrin Faerch at Poorly Written Musings

"It is like an extraordinary Joan Miro's abstract art painting "The Song Of The Vowels"" where symbolic reduction of the flexible and unexamined forms create a thrilling fiction of existentialism. These controversial interpretations that vary among the agility, simplicity, joy, whimsical charm and nightmarish distortions undoubtedly mirror the versatility, intensity and profundity of Yaporigami. His music somehow reflects a current constant stylistic mutation and renewal of Techno scene."
- Secret Thirteen

"Yu Miyashita's music hits you like a wave, in which each droplet of water is replaced by a string of digitized code. When first hit, it is impossible to decipher anything but raw emotion and sound, such is the seemingly impenetrable structure of it, resplendent in white noise mutated by the human hand."
- Silent Ballet

"We quickly realised that his work was some of the most unique music we had heard in some time."
- Stray Landings

"His visual approach, accompanied by an ethereal musical score composed by Japanese musician, Yu Miyashita, is dreamlike, visionary, and otherworldly."
- Wael Khairy at RogerEbert


2020. Virgin Babylon Records (ENG & JPN)

2019. Ecrit-O (ENG)

2019. Ecrit-O (JPN)

2018. Punto y Raya Festival (ENG)

2017. FF’Space (ENG & JPN)

2015. null+void (ENG)

2013. +Mus (JPN)

2013. Stray Landings (ENG)

2012. Tokyo Basement Sounds (JPN)

2012. Ark Typ (JPN)




- 久保田晃弘

- World's End Girlfriend

映画への貢献で特筆すべきものの一つに、Lemohang Jeremiah Mosese監督作品「This Is Not A Burial, It's A Resurrection (2019)」のサウンドトラックがある。ヴェネチア・ビエンナーレでプレミア上映されたこの作品は、米サンダンスを含む国際映画祭で25以上の賞を受賞。建築写真家Laurian Ghinitoiuと映画監督森あらたの二人から成るanother:の、建築オフィス(BIG、OMA、SO-IL等)やアーティスト(塩田千春等)とのコラボレーション映像の音楽を担当。ファッションブランドVIVIANOのショー用音楽を現在までに5期分手掛ける。

レーベルThe Collection Artaud主宰。


“「音楽は言葉に出来ない」という文句はドイツロマン派の詩人が言い出した事らしいが、"言葉"が"意味"を意味するものだとするならば、意味としての楽音具体音や、その構成の歴史的背景を記述する事は可能だったかもしれないし、主観的だとしか思えない曲想に対しても、今や(イデアルな)複数の標語が存在している。現在に於いては音楽を言葉にする事は、それをそのままトレースしたものではないにせよ、不可能な事では無いようである。 この作品 Yu Miyashita "An Arc" は、目紛しく動く音像や切断が繰り返される音響に注目するのならば、ある音を録音加工再構成しそこに新しい意味や響きを見出す、具体音楽から連なる歴史の影響を感じられるだろうし、その意味の衝突や重層に、単なる羅列では済まされないある曲想を見出す事も出来るのかもしれない。 しかしながら、これはラップトップミュージックのある到達点であると思うのだが、波形としてしか実在しない、あまりに抽象的な音の連続は、その背後に隠れる"意味"を見出す事を敢えて拒み、即ち"意味"からの逃走を繰り返し続けているように聴こえるし、そしてその響きは複数の層となりながらも、単一の平面を持ちえず、多面体として、時として複数化しながら、しかし連続を保ちながら、響き続けている。その様は名指されるような、既成の曲想へと回収されるのを拒んでさえいるようでもある。 なのでここに、残念ながら、私が何かを書き付ける事がこの作品に対して何らかの位置を占める事すら出来ないだろうし、修辞による漸近線すら描けないように思える。幾度となくこの音源を聴いて解ったのは、この音楽は決して音色や位相に関して言及する事で片付けられるようなものではない、という事くらいだった…。 "ある弧"と名づけられたこの作品は、その名の通り、決して全体を把握する事のできない巨大な音楽という"円"の確実な、しかし不定の、"弧"として存在しているようである。"
- Kosuke Numakura

- Shohei Tsuda

“崩壊する新建築に映える高度な物理現象とグリッチやらの歴史的背景からまるで脱臼したかのように旧プラトー形式の理論を無視した音楽構造。マス、アート、近年のネットコミュニティを中心としたポストカルチャー、そして彼の制作活動すべてに生じる大きな差異ひとつひとつこそが Yu Miyashita のオルタナティヴモデルたる所以であり、そしてそれが人を魅了する大きな理由でもある様に思える。今後もその構造領域の拡大が楽しみなアーティスト。"
- shotahirama

- Taro Peter Little

- Yama Yuki

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