Tokyo-based Yuu Udagawa finds herself inspired by a diverse range of genres from Nu-Jazz, Kraut Rock, Hip-Hop, Minimal/Detroit House, to Electronica, continuously exploring a unique style. Her profound love for the sounds of analog synthesizers breathes an elegant and sophisticated atmosphere into her electronic sound, offering a captivating fusion of uplifting and soothing elements that resonates with esteemed labels across the globe.

Recently, she returned to Compost Records with the ‘Golden Glow’ EP, consisting of four classy, sophisticated and timeless jazz-electronica-house hybrid tracks. We caught up with the artist to discuss inspiration, Japan’s underground scene, production secrets, and more!

WWD:: As a young Japanese producer and DJ, do you look more to Europe or the US for inspiration/track selection?

I’ve been deeply influenced by both America and Europe. I was initially drawn to the sounds of Detroit and Chicago, but I also resonate strongly with jazzy UK dance music, German Krautrock and minimal, and French electronica. Brazilian bossa nova, Japan’s underground scene, and even a recent discovery—Oroko Radio from Africa—have all been inspiring to me. That said, I don’t think much in terms of nationality; I’m more drawn to the sonic landscapes that the music creates.

WWD: Is there a particular favorite country where you think the best music comes from? If so, why this country?

 There’s great music in every country, but if I had to choose, I’d say the UK underground. I’m inspired by the way they break conventions and continually push for new forms of expression. The innovation in jazz, broken beat, and electronica is especially captivating.

WWD: What do you tend to start with when you sit down to make music?  A favorite synth or drum machine, a sample, or something else?

I begin by exploring the mood or scene that comes to mind, using single-note phrases or harmonic movement. From there, I build out the rhythm that fits that emotional tone. Sometimes I start with a bassline, or with creating a groovy 16th-note shaker. It really depends—there’s no fixed formula.

I often find myself reaching for the Minimoog Voyager and the Prophet ’08. They both produce warm, expressive tones that I love. I also tend to play and combine vintage electric piano sounds using soft synths—it’s a texture I often return to.

WWD: Your productions have quite a unique, human feel to them. What‘s the secret sauce?

Thank you. Honestly, I’m not a virtuoso player, but as a track takes shape, I often feel this impulse to play a keyboard solo—even if I don’t plan to use it. I end up sampling parts of it, and instead of perfecting the performance, I prioritize emotion. The subtle imperfections and timing give it a human touch.

WWD: Can you tell us a bit about the underground music scene in Japan?

It’s incredibly rich, with many talented artists. While there aren’t many doing exactly what I do, as I mentioned earlier, there are many artists in Japan who interpret underground sounds from around the world in their own way. There’s so much depth to discover if you take the time to dig.

WWD: Is it difficult to play leftfield music in clubs in Japan? Are there enough venues? 

There are many scenes and venues outside of Tokyo as well, so I believe there are definitely spaces—especially outside of traditional clubs—where the kind of atmospheres I create can truly resonate.

WWD: What are you reading at the moment? Which books?

I’m not reading a book per se, but I’ve been looking through a collection of James Turrell’s works. The way he frames light and space—how even the same light can transform depending on its surroundings—feels divine and fresh, and gives me motivation for my own creative work.

WWD: Do you have any tours planned?

These days, I mostly perform in Tokyo. I’ve been enjoying a peaceful routine, making music like reading a good book. That said, I’m always open to new places and encounters. 

WWD: Female producers and DJs are on the rise. Do you feel supported as a woman in this business?

There’s definitely momentum, especially among techno DJs. Things have become more visible, and support is growing. I’m fortunate to be surrounded by people I trust, and I feel supported beyond gender.

 WWD: Are there any DJs on your must-collab list? Any you’d love to play with? 

I’d love to work again with artists who’ve influenced me and who I’ve collaborated with before—like Atjazz and Abacus, who remixed my tracks. I’d also love to collaborate with Kaidi Tatham or Erykah Badu someday. I’m drawn to vocalists who blend soul, jazz, and experimental elements in a crossover style.

WWD: You have releases on Compost Records, Razor N Tape, and Cyphon. How did this come to be? 

It still feels surreal to be connected with labels and artists I’ve admired for so long. It all started when Manuel Tur, a German artist I respect deeply, discovered me on social media and introduced my music to a label. From there, things began to unfold naturally, step by step. Each label found my music at different times and kindly reached out. I’m truly grateful for their ongoing support—it’s been a meaningful and humbling journey.

WWD: Amazing! Thanks for the chat 🙂

The ‘Golden Glow’ EP is available here