YAMATOMAYA: “‘Endless’ Is About Being Caught in a Moment You Never Want to End”

YAMATOMAYA is part of a new generation of melodic artists bringing deeper emotion and musicality back into the club space. Blending progressive house with a foundation rooted in classical music and ballet, Maya’s project draws inspiration from composers like Tchaikovsky, translating that sense of movement and feeling into modern electronic production. The result is a sound that feels both cinematic and functional — equally at home in intimate club settings and on expansive festival stages.

With growing international momentum, performances across Europe and Asia, and a key milestone release on Black Hole Recordings, YAMATOMAYA is stepping into a defining phase.

Q: Your sound mixes progressive house with classical vibes — how did that blend come together, and does your background in ballet and classical music still shape how you build your tracks today?

A: It actually came together quite naturally. I grew up doing ballet, so I was deeply influenced by classical music, especially composers like Tchaikovsky.

From there, I became inspired by dance music, and I felt that the emotional depth of classical music really matches well with electronic sounds.That’s why classical elements are always part of the theme in my tracks.

Q:What’s one thing about your production that feels uniquely “YAMATOMAYA”?

A: I think it’s an emotional structure. Even on a club track, I want it to feel like it’s going somewhere, like there’s a journey, not just a drop.

There’s usually a slightly cinematic or melancholic layer underneath everything, even when the energy is high. That contrast is something I always come back to.

Q: You’ve played festivals across Europe and Asia — how do the crowds compare, and has that influenced your sound?

A: They’re very different, but in a good way. European crowds tend to be very immersed in music. They listen deeply and really connect with the progression of a set. In Asia, the energy can be more explosive and emotional in the moment.
Playing both has definitely shaped my sound. I try to create music that works on both levels, something you can feel and also lose yourself in.

Q: Was there a moment or show where you really felt things went international for you?

A: There wasn’t one single moment, but I remember playing outside Japan and seeing people react to my music who didn’t know me at all, but were still connected to it. It was then that I realized music has its own language.
Now, with a handful of tracks I truly believe in coming this year, I feel like things for me are about to become more international than ever.

Q: Having your music released by Black Hole Recordings was certainly a huge step forward. What was your first reaction when you found out it was happening?

A: Honestly... it was disbelief for a moment. Black Hole has such a strong legacy in Trance and progressive music, so to be part of that felt like a real milestone.

But very quickly, it turned into motivation. I’ve really taken time to evolve and refine my sound, and I have a few tracks in the chamber that I believe in deeply.

2026 is a year where I intend to go big, and I hope this is just the beginning of building something strong with the label.

Q: Can you tell us the story behind your upcoming release - “Endless”?

A: “Endless” is about that feeling of being caught up in something you don’t want to end, a moment, a connection, a phase of life.

It’s emotional, but not in a sad way, more like being suspended in time. This track was supposed to feel like it was continually evolving, like it was never really resolved.

Q: We feel like it works both in clubs and at festivals — where do you think it hits the best with your fans?

A: I think it works differently in each space. In a club, you can really feel the details and the emotion. It becomes more intimate. At festivals, it opens up more. The melodies feel bigger, and the energy carries across the crowd. So it kind of adapts depending on where you hear it.

Q: Who are the artists or composers that have shaped your sound the most? And are there any non-electronic influences that still inspire you today?

A: Growing up with ballet music, especially Tchaikovsky and violin sounds, shaped my sense of emotion and movement, while artists like Arty, Eric Prydz, Above & Beyond, Kasablanca, and anamē inspired me. I think these influences came together to shape my own sound.

Q: If you could collaborate with anyone — electronic or classical — who would it be? And is there a dream stage or festival you’re still aiming for?

A: I’d love to collaborate with artists like Armin van Buuren, Tiësto, Ferry Corsten, anamē, and Matt Fax. I have a lot of respect for what they’ve built, and each of them has a unique sound that has influenced me in different ways.

Stages like Transmission, Dreamstate, and A State of Trance carry a deep meaning for me, and I have a lot of respect for what they represent. I think they are stages that many artists dream of. I hope to stand on top of those stages someday.

Q: The melodic and progressive scene is evolving fast and becoming more open to Asian artists — where do you see yourself going next, and what can we expect from your upcoming releases?

A: It’s exciting to see the scene becoming more open. It feels like the right moment.

I’ve stepped into a new phase, making a clear shift in everything. There are also a few tracks I’ve been holding back, and now feels like the right moment.

My goal is to scale internationally, reach the top tier, and stand on the same stage as the artists I’ve looked up to. I want to show the world what I’m made of.

And for me, this next phase is defined by “Endless.”

Get it on Beatport