The room › Artists › Iyo Matsumoto
Where to start with Iyo Matsumoto
Start with 刺激下さいBOY — 夢ひとつ蜃気楼, 2017. That is the track sitting closest to the centre of all 25 Iyo Matsumoto tracks in Zubissou Sounds — a listening room of 14,971 tracks placed one at a time by hand, not an algorithm.
This page is not a discography and not a ranking. It describes exactly one thing: the 25 Iyo Matsumoto tracks that one person put in one room, and where they sit relative to each other. The starting point above is chosen by a rule you can check — of the 25 tracks, it is the one nearest the average position on the four knobs the room runs on, and where two sit equally close the one on a named record wins. Nothing here calls any record better than any other.
It is spread thin and wide — 25 tracks across 14 different records, which is a browsing history rather than a shelf of favourites.
Every track is filed under city pop; nothing here crosses into another genre.
The head/body knob swings 48 points across these tracks, the widest of the four — it is the axis this artist actually travels along in this room.
Three ways in
The one track, if you only play one
刺激下さいBOY — 夢ひとつ蜃気楼, 2017. Of the 25 Iyo Matsumoto tracks here, this one sits closest to the average of all of them across the four knobs the room runs on. It is the least surprising thing in the collection, which is exactly what an entry point should be.
If you want the cerebral end
風の宮 — すてきなジェラシー, 2007. The lowest head/body reading of any Iyo Matsumoto track in the room (25 out of 100). This is as far towards cerebral as the collection goes.
If you want the groove end
ルージュの選択 — 天使のバカ~L'Ange Fou, 2017. The highest head/body reading here, at 73 out of 100 — a 48-point swing across the collection towards groove.
Where Iyo Matsumoto sits in the room
Zubissou Sounds does not have playlists or genres you click. It has knobs. Every track carries a position on each one, set by hand when the track was added, and you find music by setting the room to a state rather than by searching for a name. These are Iyo Matsumoto's average coordinates and the range they cover.
| Knob | Average | Range | Low → high |
|---|---|---|---|
| mood | 58 | 37–74 | melancholy → euphoric |
| energy | 61 | 34–77 | ambient → driving |
| density | 49 | 33–64 | sparse → wall |
| head · body | 54 | 25–73 | cerebral → groove |
All four run 0–100. They are placed by a person, not derived from audio analysis or from any streaming service's feature data.
What is here, record by record
| Album | Year | Tracks |
|---|---|---|
| 風のように | 2017 | 5 |
| MARIAGE~もう若くないから | 2017 | 4 |
| 天使のバカ~L'Ange Fou | 2017 | 3 |
| サムシングI・Y・O | 2017 | 2 |
| Private File | 2017 | 2 |
| Endless Summer | 2017 | 1 |
| Only Seventeen | 2017 | 1 |
| センチメンタルI・Y・O | 2017 | 1 |
| Sugar Rain | 2017 | 1 |
| すてきなジェラシー | 2007 | 1 |
| 信じかたを教えて | 2007 | 1 |
| 夢ひとつ蜃気楼 | 2017 | 1 |
| TOKYO 1980s Victor Edition (The Alternate Mix) Boogie, Funk & Modern Soul from Japan ~Non Stop Mix ver.~ | 2018 | 1 |
| TOKYO 1980s Victor Edition (The Compilation) Boogie, Funk & Modern Soul from Japan | 2018 | 1 |
Every Iyo Matsumoto track in the room
| Track | Album | Year |
|---|---|---|
| 風の宮 | すてきなジェラシー | 2007 |
| きれいな涙 | 信じかたを教えて | 2007 |
| ネバーランド発 7:00 P.M. | Endless Summer | 2017 |
| La Primeur | MARIAGE~もう若くないから | 2017 |
| Mariage ~幸せになって | MARIAGE~もう若くないから | 2017 |
| 予期せぬ出来事 | MARIAGE~もう若くないから | 2017 |
| 恋は最初が肝心 | MARIAGE~もう若くないから | 2017 |
| TVの国からキラキラ | Only Seventeen | 2017 |
| Private fileは開けたままで・・・ | Private File | 2017 |
| ソリチュードにもたれて | Private File | 2017 |
| 風にのった日 | Sugar Rain | 2017 |
| バージニア・ラプソディ | サムシングI・Y・O | 2017 |
| ラブ・ミー・テンダー | サムシングI・Y・O | 2017 |
| センチメンタル・ジャーニー | センチメンタルI・Y・O | 2017 |
| 刺激下さいBOY | 夢ひとつ蜃気楼 | 2017 |
| Kiss And Whisper | 天使のバカ~L'Ange Fou | 2017 |
| ルージュの選択 | 天使のバカ~L'Ange Fou | 2017 |
| 信じかたを教えて | 天使のバカ~L'Ange Fou | 2017 |
| Too Late Too Young | 風のように | 2017 |
| それから | 風のように | 2017 |
| カレードスコープ | 風のように | 2017 |
| サヨナラは私のために | 風のように | 2017 |
| 硝子のカラス | 風のように | 2017 |
| Private fileは開けたままで・・・ - Non Stop Mix ver. | TOKYO 1980s Victor Edition (The Alternate Mix) Boogie, Funk & Modern Soul from Japan ~Non Stop Mix ver.~ | 2018 |
| Private fileは開けたままで・・・ | TOKYO 1980s Victor Edition (The Compilation) Boogie, Funk & Modern Soul from Japan | 2018 |
Near neighbours in this room
These are the artists whose average knob position sits nearest to Iyo Matsumoto's in this room. It is a coordinate match, not a claim that they sound alike.
- Where to start with Yukiko Okada — city pop, 10 tracks
- Where to start with Shizuka Kudo — city pop, 18 tracks
- Where to start with Mako Ishino — city pop, 11 tracks
What the open databases say
MusicBrainz lists Iyo Matsumoto as a solo artist, from Ōta, Japan and born in 1965. Its contributors tag the artist idol kayō, pop and kayōkyoku. These are the open database's facts, not mine — you can check them against the MusicBrainz entry.
Questions
How many Iyo Matsumoto tracks are in Zubissou Sounds?
There are 25, across 14 albums. 25 of them carry a date, running from 2007 to 2018. That is the whole of what this room holds — it is one person's collection, not a discography.
Is this a best-of, or a ranking?
No. Nothing here is ranked and no track is called better than another. The starting point is picked by arithmetic — the track closest to the centre of all the others on four measured axes — and the rule is printed above so you can disagree with it.
Where do the knob numbers come from?
They are set by hand, one track at a time, by the person who added the track. They are not audio analysis and not a Spotify feature. Mood, energy, density and the head/body balance each run 0 to 100. All 25 of these tracks have been read individually — nothing on this page is running on a default.
Can I listen to these here?
Not yet from this page. Zubissou Sounds is in private beta — the room itself plays through Spotify, and 25 of these 25 tracks are matched to a Spotify ID and ready to play the moment you are in. The waitlist form is at the bottom of this page.