This week Antal brings together all of his talents as he joins forces with Dubby – owner of Ondas Records in Japan – where together, they have lovingly curated a compilation that focuses upon ‘Techo Kayo’ – Japanese Techno Pop 1981 – 1989. A sound, a time, a movement spearheaded by the likes of The Yellow Magic Orchestra and Kraftwerk.
On the week of the release, we have the pleasure of putting some questions about this fascinating album, to this industry icon.
INTERVIEW
We are thrilled to talk to you today about your compilation that is soon to drop on Rush Hour. The subject of the comp is specific. What was your first exposure to this musical topic and what was it that fascinated you so much that you wanted to put together this comp?
Hey likewise, thanks for this. So, I have always been fascinated by Japanese culture mostly food and film and Kanji signs. So in the early days of Rush Hour we aimed for working with Japanese stores so we could export our releases. Soon after the first travels to the country happened and from that moment on, I have always been into going there and learning more about the culture, especially people, music and food.
You have worked with Dubby of Ondas Records in Tokyo. How did you guys connect initially? What was it like working together on the project?
Via digging sessions I meet up with Dubby once via his online record store Ondas. He, and Chee Shimizu have been at the forefront of exporting Japanese records. At some point, during a dinner, I asked Dubby if he was up for doing a compilation for the label. Since he is so deep into the music I indeed learned from him – enjoying conversations about music and people, highlighting tracks for a reason is a story that comes with each record. Of course there are many more ways, but with Dubby it was a nice way to dig even deeper into this sound.
If you could pick a track that epitomizes the sound of Techo Kayo, what would that be? Tell us a little about that track.
It would be music from Yellow Magic Orchestra or Sakamoto. “Merry Christmas Mr Lawrence” was a song that I knew from a very early age and I always loved it.
The first couple of years I would be very much into this music before I moved on to more obscure titles. I didn’t realize it was part of a movement, but I could always hear the “techno sounds” in this music. And of course a tune like “Fire Cracker” was always played on the internal dance floors, so this was a very “Kraftwerk like” jam. I guess that says enough.
You mention that the Yellow Magic Orchestra pioneered this sound. Did you seek inspiration or insight or reference at all from (Hosono)?
Over time I would try to listen to every record that carried Sakamoto’s, Hosono’s or Takahashi’s name. Still there is so much that I personally haven’t heard.
I was very fortunate to see Haruomi Hosono perform in London in July this year. Have you ever seen him perform?
I haven’t yet. I saw he performed in Bali at Potato Head too.
What were some of the specific machines that were used in the making of tracks from this time and genre in your opinion – Stuff like Roland TR-808, E-mu Emulator and Prophet 5?
Obviously Roland stuff, but I am not necessary the person to talk with about gear. A fact that is definitive: The music makes use of drum computers and synthesizers as a new thing. Just like with techno and house music.
Was it a hard process to whittle down the final tracks for the comp? Where there many other tracks you could have included? How did you make your final selection?
So Dubby suggested a bunch of tracks and I made a selection out of that as well as suggested a few others. Next to that the selection totally depends on the licensing process and what is available and what not.
You have stayed well away from this being a digital release. Tell us about this choice and why you made it.
This is not our choice, but some tunes could only be licensed for a physical format and so it was just not worth to present the comp. digitally.
It’s written that the technopop boom in Japan started when the most successful band in Japan – YMO – struck an advertising deal in the 80s with Fuji cassette. This format was important to the genre at that time. Are you planning to put the album out on cassette?
We are not planning to do a cassette but I was thinking of it. Nice suggestion though.
The artwork is particularly beautiful on this cover. What can you tell us about that and what it represents?
Honestly we wanted to work with a Japanese artist on the cover as this felt like the only right thing to do. But it didn’t work out, so we asked Johann Kauth – the designer that does a lot more for our label – and he nailed it in one go. He is an incredible talent!
Obviously this needed be done with respect and care for something that is already having an image from the 80s, but it should also be representing what we like about it and what feels good to us.
I knew he was great, as he has done a lot of stuff for us before, but this was so good in one go. We are very happy with it.
You are known for having a very wide range of music in your sets. What kind of stuff are you playing right now?
It depends on the location. Sometimes I can play straight up house, and some places where I play all night I can do whatever I want and feel like that day. To me all good music is one! But the context as in time and space is what matters.
In some locations a tune just doesn’t sound so great, but in other places it does. Sometimes I also feel like playing classics, and sometimes I want be more progressive with the sound.My thing is to play stuff that I am really into at that moment and there have definitely been times where people didn’t understand it. I think it is also fun trying to make sense of it.
I can listen to an Elis Regina song and mix it up with a Phuture Acid track or something. Why not?! I don’t like to stay in one lane, although I do compare DJ-ing for a large audience as a big boat on the ocean. Once you go left, you can’t go right. That’s easier with a small boat with just two people floating. See what I mean?
Even though you have a plethora of music at your fingertips with the store, what was the last record you purchased outside of Rush Hour?
I just came back from Redlight records and bought some synth pop, disco (not) disco stuff. I might not play it in the clubs for some time but my mind is always to try to find other sounds that I haven’t been into before. I always shop local and always try to visit the stores and see what they have. It’s rare for me to walk out of store empty handed.
You live in the great musical city of Amsterdam. How much is your taste in music influenced by the city itself?
Big time! First of all, people like Aardvarck of Rednose District fame was the one that combined so many different sounds that definitely influenced me and the store. At gigs he would combine Motorhead, DJ Rush and Lionel Richie for instance. In fact, when this was happening in Amsterdam, I think the rest of the world was still shuffling on minimal techno. Apart from the UK of course where “rare grooves” were always a thing.
Than there were DJs like Cassie 6 or Kc The Funkaholic, who both really took me under their wing and organized evenings where they would feed not only me, but many other younger local DJs like Mr Wix, Or Leroy Rey. Cassie 6 for instance, was big on anything that was hyped in the UK in the 80s so he would play, and record me CDs with all sorts of jams, loads of Brazilian tunes and what not. Having a club night for over 10 years in Amsterdam’s Paradiso was just one big eduction. I have seen so many bands and DJs there.
Things like, USA DJs requesting Rane rotary mixers and Vestax Isolators on their riders was something that really influenced me. You have to understand, that these DJs came once every 2 months or so, and Paradiso bought the equipment, but it was not used in between those gigs. They would allow me the borrow the equipment so I could practice on it at home. So the first time I travelled to Japan I immediately ordered a Dope Real Isolator. I could go on for some time here but I guess you get the picture.
I guess that Techno Kayo will be released during ADE. Do you have something planned for the launch?
We wanted to release it before but we had a little hick up in the production. Fact is that Roland Instruments is hosting a workshop three days in our basement launching new equipment during ADE. It has nothing to do with the Techno Kayō compilation but it’s a fun coincidence!
Are there more planned in this series?
Yes there is, but the licensing process is the what is in between right now.
Order now: Techno Kayō vol. 1 – Japanese Techno Pop 1981 – 1989 (Compiled by Dubby & Antal)
Interview by Shine PR
