by | Sep 12, 2018 | MUSIC | 0 comments

Music and we step with the ultra-cool hip-hop outfit CosmicBath.

Taking elements of jazz, blues, soul and funk the trio of Cosmicbath from Japan (Kobe to be exact) lay down lyrical content ostensibly in Japanese with flourishes of some English bars. Their debut project with the French label Orikami Records-Underconstruction offers the opportunity for some satisfying online streaming. Deft samples, tight production and that ease of lyrical delivery synonymous with quality hip-hop bangers is clear for all to see. Borrowing from yesteryear the seven track project transports to a time when old skool hip-hop was a powerful tool for those of a more conscious mind-set. Small touches with the crackle of vinyl and of course telling samples add to a project that is a clear line in the sand for Cosmicbath in terms of gravitas with their peers.



CosmicBath who are you, what do each of you do within the band, when did you form, and break down your discography?

Yuke Myras: Cosmicbath consists of Ra’arts, Jus-One and me Yuke Myras. We all make beats and rap. We formed around 2010, though we’ve been feeling synchronicity with each other and making music way before then.

What are your individual music stories?

Ra’arts: My dad has tons of records and I used to listen to them with him as a child, so it was natural for me to become involved in music.

Jus-One: Babylon system is fucked up. I just want to make rebel music in my country. That is a guidance straight from the galaxy.

Yuke Myras: I’m not exactly sure why I’m an artist. I think it is because but I spect so much time playing alone with a few toys. At the time I was also surrounded by Jazz and now in adulthood, I have few friends to play with.

Tell us about your hip-hop journeys. You do not seem to be followers of that Drake, Kanye sound-you seem more cultured?

Yuke Myras: Apple is apple, water is water and McDonald is McDonald. We don’t eat McDonald that much. We have been listening to a lot of music, not only hip-hop and digging the essentials that make the sound we feel. Now we are really into that analogue sound.

We always concentrate on every single sound, relationship and perspectives of them. It’s like this organised chaos of creativity


Who has inspired your vibe?

Ra’arts: Cannonball Adderley, Chick Corea and Carl Lewis.

Jus-One: Oh, it’s Bob. He taught me what is the most important thing which is love.

Yuke Myras: I guess it’s my dad. He is extremely meticulous about everything he does. He loves the weird and wonderful and is always confident in expressing that. I think it is imprinted on my vibes to create funky beats, but I am still at heart quite introverted.

Talk to us about hip-hop in Japan. Is it popular and what impact is it having on the younger generation (if any)?

Yuke Myras: We do have hip-hop here in Japan, but it is not that popular. I don’t belong to any communities, so I am not sure about its wider impact. As far as I know, there is hardly any good acts here. I think people are more enthusiastic about the actual sound equipment. The equipment that these engineers make are brilliant for the music. But I was thinking about the inclusion of advanced technologies on the artists. I feel the great sound sometimes can fade the purity of each artist. I believe true soul takes time in any way rather than the over use technology.

And what about hip-hop generally in the world is it in a good place?

Yuke Myras: It would depend on the definition of a good place of hip hop. For us, it is in a good place where there are no boundaries to expression. Personally, I hope the success doesn’t mean just wealth and fame but also further progress in the genre.

You rap in Japanese does this limit your global potential?

Yuke Myras: I don’t think so because the works are seeds and it depends on the individual person. I believe our sound let people’s minds open to something new.

Your latest release Underconstruction is on the Orikami label. Talk to us about the release and how happy you are with this release?

Yuke Myras: We have been enjoying making music for a long time. We didn’t release a lot of songs, so we do not have an extensive back catalogue. Getting with Orikami has given us a chance to drop new music and so we appreciate it. It’s great to be with such a forward thinking and supportive label.


There are some great samples. Can you tell us about them?

Yuke Myras: I’m afraid I don’t want to publish the breakdown of that in much detail. But I can say I sampled Softly (1975) by Weldon Irvine which is a spiritual and very beautiful piece for the track Flying Creature. I chopped, reconstructed and played bass and drums with the drum machine.

Were there any points where you opted for an element, so you could re-produce the tracks live?

Yuke Myras: I am a fan of that amateur style of camerawork because of that naturalness, the historic moments, or random pieces of a puzzle. We love to record the raw moments, not just a collection of poses. Every single word and sound are rooted in our innate spontaneity.

And talk about the influences in this project we hear soulful energy with some real old skool sensibilities.

Yuke Myras: I think it is just because we make our souls reflect the works with old gear as much as possible. The influences are everything we feel, as for music, it’s mostly jazz, funk, soul and blues.

What is the x-zone in relation to the ep mean?

Yuke Myras: We always concentrate on every single sound, relationship and perspectives of them. It’s like this organised chaos of creativity but we then do things to make that chaos something meticulously organized.

Absolutely love that artwork talk to us about the concept behind that?

Jus-One: Last year, my grandpa died. My family and I organised his room and I found 70’s-ish vintage mags. Those magazines inspired the artwork and then I flipped it out like Sgt. Pepper’s.


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