The vibrant neon energy of Shibuya’s back alleys glimmers behind us as I trail rapper Coults down the steep steps of a 24-hour self-service ramen shop, away from the throngs of tourists at the world’s busiest crossing. It’s the ideal spot after his performance at Lion Bar, a well-known hidden gem in Tokyo’s underground music scene, and a place that most people only learn about through a friend’s recommendation.
Standing side by side at the ramen counter, separated by a privacy screen, the 24-year-old rapper confidently slides his order token through the opening. He nonchalantly shrugs when the bowls arrive. “I see a lot of artists today waving the Japanese flag and flaunting the style without any genuine connection to the country, and it just seems forced and unauthentic,” he confesses. “I felt like someone needed to come in and represent it the right way. No gimmicks, no pretending.”
He has never shied away from showcasing his Japanese heritage; those who have followed him for a while would be aware of this. Whether featuring a Japanese flag on the cover of ‘Ego’ or subtly acknowledging Japanese stitching in his chart-topping hit ‘F&F’, the allusions were always present. Nowadays, they are more prominent.
Coults, born to a Japanese mother and a British father, was raised in the UK but immersed in the culture of Osaka. “Even though I grew up in the UK, I’ve always felt a stronger connection to my Japanese side. I speak Japanese with my mum daily, eat Japanese food, and watch Japanese television every day. Naturally, that leaves an impression,” he elaborates. This sentiment resonates with mixed-heritage children everywhere, embodying a quiet, steadfast confidence in their roots. It likely contributed to Coults’ audacity to challenge norms in a track like ‘Arigato’, where he describes himself as a “rich white prick,” a statement that is only partially true.
His latest release is a 16-track album titled ‘New Romantic’, executive produced by renowned producer Venny, known for collaborating with American stars like Ice Spice, Cardi B, and Lil Tecca. The album features underground talents Hako and Seventhirtyatmorning, and its cover depicts his girlfriend Bianca Kei, who is half-Japanese, adorned in traditional geisha-inspired makeup crafted by the acclaimed PaintedByEsther. The image perfectly encapsulates the fusion of tradition and tenderness, like a love letter in kanji.
“I was either immersed in classical music through my mum or punk rock through my dad, so in some odd way, those two genres fused to shape the balanced sound I have now, which toggles between energetic and mellow,” he explains.
Beneath the Bape, Timberlands, and boastful lyrics, Coults is a complex amalgam of contradictions. He studied French at UCL and began playing the cello at a young age, balancing discipline with chaos, mirroring his approach to underground music. This dichotomy permeates Coults’ visuals and soundscapes, evident in his relaxed yet trap-influenced style, combined with Western beats and iconic Japanese jazz samples.
Considering the variance in his sound, it’s understandable that the journey to craft the album was anything but smooth. “I recall recording ‘Nosebleed’ the night of my Rolling Loud performance in LA. The studio was unbearably hot with about 20 people present, and the recording equipment was slightly defective, making my vocals sound distorted,” he recalls.
He adds, “‘New Romantic’ was recorded in so many locations. Tracks like ‘Rich Girl’ and ‘Sayonara’, co-produced by Matt Hua and Trezzor, were made at Matt’s home studio in London, while ‘Isabel Marant’ and ‘Takai’ were created in LA. ‘Dyson’ was recorded in New York. The album wouldn’t be what it is today if I had just remained in London.”
As of now, only a few interviews with Coults are available. Despite going viral on TikTok with his girlfriend seemingly every other day, the online space can be unyielding, particularly in underground circles where competition feels relentless. This is part of why Japan seems much more liberating for him than his home country.
“The Japanese underground is fascinating because they show immense respect for UK rap while maintaining their distinctive aesthetic. The lyrical talent there is on another level; I have to give props to JUMADIBA, Tade Dust, and Ziproom. These artists could easily out-rap many in the UK. Pursuing a career in music is still seen as quite unconventional there, unlike in the UK, making it less cutthroat, and it appears people genuinely enjoy themselves. Everything is amicable and focused solely on the music,” he shares.
“A significant aspect of having a good time there ties back to the respect-oriented culture. People go out, drink, and
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The vibrant chaos of Shibuya’s side streets glimmers in the background as I trail behind rapper Coults down the tight staircase of a round-the-clock self-service ramen shop, away from