Presented by our guest interviewer, Ellis May.
There’s a hot new compilation about to be released on Amsterdam’s Rush Hour Records, which has been lovingly curated by the Dutch label head, Antal, and Dubby, owner of Ondas Records in Japan. Focusing on late 80s computer bleep sounds fashioned into Techno Kayo – Japanese Techno Pop from 1981-1989. We speak with Dubby here to get his perspective on this fascinating genre.
Thank you for taking the time to talk. Where are you this moment and how are you spending today?
I’m at home after work, spending time with my little kids as usual.
Where are you based exactly?
I’m based in Tokyo.
What is it you love most about the city in which you live?
If I had to name one thing, it would be the food, I suppose.
How is the health of the music scene where you are?
To be honest, with young children, I haven’t been frequenting the night scene much, but I do think there’s a good balance between energetic youngsters and veterans.
How is the health of the music scene generally, in your opinion?
I was originally raised within hip-hop culture. Tracks constructed using sampling techniques were produced using classic jazz and soul albums as source material, weren’t they?
That’s why I became interested in jazz, and it remains one of my musical roots to this day. I’m inspired by the revival of UK Acid Jazz and by cutting-edge new artists.
Tell us about the history of your record store Ondas? What do you specialize in?
Ondas was launched in 2014, initially selling records I had sourced myself through Organic Music, an online store run by Chee Shimizu. An opportunity arose to sell Japanese records at a pop-up event held at LN-CC in Dalston, London, which made a significant impact. This prompted the launch of Ondas as a cross-border e-commerce venture – something that didn’t exist in Japan at the time – to introduce Japanese records overseas.
During my time living in London, I developed extensive connections and exchanged information with diggers worldwide, including Tako, Jamie Tiller and Abel from Music From Memory, Redlight Records, and Basso from Growing Bin.
How did you come to meet Antal? Was it through the store?
I had known him since I worked at CISCO Records in Japan, but it was through ONDAS that we began interacting directly.
When was the idea of the Techo Kayo compilation born?
About two years ago, I think. I had dinner with Antal when he was visiting Japan. We talked about wanting to work together on something, and that’s when we started making the compilation.
How would you define Techno Kayo?
What we call techno-kayō here in Japan used to have a rather cheesy and slightly tacky image, so this project features a more refined selection. We’ve also chosen works categorised as new wave, proto-techno, and proto-house.
Is there a specific time period that Techno Kayo is most pertinent to?
I believe it emerged between 1981 and 1982. Influenced by Kraftwerk, Japan’s avant-garde musicians adopted it, and commercially, it was also incorporated into the work of Japanese idols.
Who were some of the key players on this scene/ sound?
The three members of YMO, Kenji Ohmura, Makoto Yano, Shigenori Kamiya, and Masami Tsuchiya, among others.
As a result of focusing on sounds more familiar to ears accustomed to digesting dance music like progressive rock, cosmic, and electro, names such as theirs came to the fore.
How much was the Techno Kayo scene inspired by Kraftwerk?
I believe it had a rather significant impact. However, just as Kraftwerk would later describe YMO, they too exerted a considerable influence on the domestic scene.
Why do you think Kraftwerk were so ahead of their time?
Rather than being pioneers, it was likely the influence of various musical trends – disco, soul, avant-garde new wave – and newly emerging equipment like synthesizers that played a greater role.
Many people I have spoken to from Detroit talk about Kraftwerk and Yellow Magic Orchestra being an inspiration for Detroit Techno. What is your opinion here?
I agree. While regional characteristics play a part in new styles emerging, I believe everyone creates their work with the ambition to produce something distinct from others. Should that movement gain sufficient momentum, it could become a genre that endures for posterity. Like Chicago House or Acid Jazz, for instance.
The Yellow Magic Orchestra made some killer tunes. Were they as big in Japan in the 90s as there were in the UK?
In the early 90s, I believe there was respect within the club scene for remixes like those reworking YMO’s early works for the dancefloor. Given that each member was pursuing solo activities at the time, it was a period where they were each engaging with music through new endeavours, so their influence may not have been as significant as it is today.
Give us an overview of your new compilation with Antal on Rush Hour?
The clear concept was decided about two years ago, but obtaining the licence took time. Additionally, we had to replace several tracks selected at the last minute for various reasons, and some were indie works where we couldn’t get in touch with the creators. It was quite a struggle, I must say. I’m grateful to the Rush Hour team and everyone involved for their cooperation.
I’m in love with track KYOKO KOLZUMI – MICROWAVE. What can you tell us about this record?
This track is from an album released in 1989, dedicated to dance music. While “Fade Out”—released as a single and reissued— is a masterpiece already familiar to many, personally I prefer “Micro Wave”, which I’ve selected this time.
Would you say this record is for connoisseurs or do you think it has a wider audience?
The selection is based on those we ultimately secured licences for, so it may strike some as rather niche. Nevertheless, given the impact of the music and vocals, we hope it will appeal to a broad audience.
What plans do you guys have for the launch?
It would be brilliant if we could do something special, but as we’re both based in different places, it would be great if we could find a moment after launch to do something together!
Artwork by Johann Kauth (Stenze Quo)
Which other artists do you think are making great music right now?
That’s a tricky question. I tend to listen to new UK jazz a lot, and some Nu Soul and Hip-Hop and the like.
What was the last record you purchased outside of your store?
I’m buying back Techno-Kayo records for a mix production. Lol
What has been a highlight of the last year for you?
The year passed in the blink of an eye.
Are we going to see a number two in the Techno Kayo series? Any plans?
Hopefully！
Release:septmber 26
Buy/ Stream Techno Kayō vol. 1 – Japanese Techno Pop 1981 – 1989 (Compiled by Dubby & Antal) at Rush Hour
Dubby on Instagram
Antal on Instagram
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