13 Things You Should Know About NTsKi

NTsKi’s Artistic Mastermind

I grew up by the sea in Kyoto, and after graduating high school, I moved to Tokyo to attend a photography school. Once I finished my studies, I moved to the UK. My life consisted of going back and forth between England, Tokyo, and Kyoto, but I mainly wrote my music in Kyoto.

During my time as a photography student, I won an award in a competition, which gave me the opportunity to exhibit my work at the Centre Pompidou in Paris. It was my first time visiting the city. The opening party for the exhibition was held on the second floor of a restaurant near the Centre Pompidou, and downstairs, there was a crowd of people all dressed in black. It turned out to be the after-party for Yohji Yamamoto’s Paris Collection. When I looked closely, I noticed Yohji Yamamoto himself. By coincidence, I was wearing the first Yohji Yamamoto dress I had ever bought, and I felt I had to go talk to him. When I finally got the chance to introduce myself, he signed his autograph for me. Strangely, he wrote my name as “NTsKi”—with capital “N” and “T,” a lowercase “s,” a capital “K,” and a lowercase “i.” I thought it looked cool, so ever since then, I’ve been using the name he gave me as my artist name. Pretty cool, right?

Curiosity: The Ultimate Motivator

When I was living in Manchester, my roommate used a music production software called Logic, and my curiosity got the better of me—I wanted to try it too! In Manchester, many people around me were involved in music, but rather than seeing it as a job, it felt more like a natural part of life, which suited me well. My dream is to be a musician, but I prefer to approach it as an extension of daily life rather than with intense pressure. The reason I moved to the UK was that I had friends in England from when I was exhibiting in France. I enjoyed hanging out at bars, clubs, and house parties during a casual visit, which sparked my decision to move.

Always Close to Music

I think I was influenced by Aaliyah, whom I watched and listened to on MTV when I was in elementary school. Her music was always around as I grew up, and when I started making my own music and listened to her tracks again, I realized how dope her beats and vocal delivery were.

From Kyoto’s Bed to Global Horizons

I love singing, making sounds, and creating things. Instead of focusing on pursuing a specific style, I feel like I’m just doing what I want with unrestrained passion. Creating music alone in bed at home and then sharing it on stage with everyone is simply a lot of fun for me.

I handle the styling, direction, and editing of my music videos all by myself. However, I had a great collaboration with Prosper, a director and CG artist based in London, because our ideas and vibes matched well. I even invited him to Kyoto to work together. I’d love to team up with more people like that if I get the chance.

Finding Calm in the Water

I often get inspiration while hanging out with friends. Whether it’s playing at the beach or partying at a club, being active and having fun is key. I’ve always loved being in the water, and whenever I want to refresh my mood, I go to the sea, pool, or hot springs. Even when I was in Kyoto, I’d run into the sea fully dressed when it got hot, and then head home still wet. It’s kind of like how dogs dive into the water when it’s hot! [laughs]

The Inevitable Emerging from Serendipity

The idea for my new track, “Labyrinth of Summer (gentoku Remix),” came about while chatting with AsahiNa, a close friend and visual artist. We were discussing the art project TREATMENT, organized by AsahiNa and creative director Iori Yamaki, and we thought it would be great to include gentoku in a 2024 version of “Labyrinth of Summer.” I first created this track around 2017 when I started my music career, and it’s a deeply personal song that I’ve performed in various versions with a band at live shows. Since it’s also one of AsahiNa’s favorite songs, we decided to go with this one. AsahiNa has also contributed to the artwork for the “Labyrinth of Summer (gentoku Remix)” cover and handled VJ duties at Fuji Rock.

Art Event Breaking Genre Boundaries

At parties and events, performers are often grouped based on a cohesive overall atmosphere. However, TREATMENT, which AsahiNa invited me to, intentionally brings together people from different genres, mixing audiences who wouldn’t normally meet. While such parties can sometimes feel disjointed, TREATMENT maintained a unified vibe due to its clear theme. This time, with a focus on visuals, I also tailored my live set to complement the visual elements.

Defining Sexuality: It’s Still Too Early

When I was in middle school, I wanted to be a boy. I felt uncomfortable wearing skirts and always wore pants instead. Even now, I often wear pants, but I’ve realized that fashion can be used to judge gender, so I intentionally wear skirts sometimes and enjoy expressing different aspects of myself. The first person I fell in love with was a girl, and during my teenage years, while everyone around me was talking about wanting a boyfriend, I didn’t feel that way at all. I’m at peace with being a woman, but if there were a next life and I could be reborn, I’d prefer to be a man. When I started becoming aware of my sexuality, I considered wanting to be a man, so it took me years to slowly come to terms with being a woman. But honestly, I might still not fully understand it [laughs].

The Struggle with Gender Balance

There have been times when I felt that, due to the event lineup having a higher proportion of men, women were booked out of necessity to balance the gender ratio. Even if that’s the case, I struggle with the notion that enduring such situations might help increase opportunities for women in the future. With more women making strides not just as musicians but also as DJs, I hope that future generations will find it easier. In that sense, I also aim to give back to the community through my own activities.