The room › Artists › Yumi Matsutoya
Where to start with Yumi Matsutoya
Start with 真珠のピアス — PEARL PIERCE, 1982. That is the track sitting closest to the centre of all 19 Yumi Matsutoya 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 19 Yumi Matsutoya 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 19 tracks, it is the one nearest the average position on the four knobs the room runs on. Nothing here calls any record better than any other.
It is spread thin and wide — 19 tracks across 12 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 energy knob swings 52 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
真珠のピアス — PEARL PIERCE, 1982. Of the 19 Yumi Matsutoya 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 ambient end
青いエアメイル — OLIVE, 1979. The lowest energy reading of any Yumi Matsutoya track in the room (22 out of 100). This is as far towards ambient as the collection goes.
If you want the driving end
思い出に間にあいたくて — ダイアモンドダストが消えぬまに, 1987. The highest energy reading here, at 74 out of 100 — a 52-point swing across the collection towards driving.
Where Yumi Matsutoya 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 Yumi Matsutoya's average coordinates and the range they cover.
| Knob | Average | Range | Low → high |
|---|---|---|---|
| mood | 57 | 32–73 | melancholy → euphoric |
| energy | 51 | 22–74 | ambient → driving |
| density | 48 | 29–61 | sparse → wall |
| head · body | 60 | 31–76 | 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 |
|---|---|---|
| ダイアモンドダストが消えぬまに | 1987 | 3 |
| PEARL PIERCE | 1982 | 2 |
| Delight Slight Light KISS | 1988 | 2 |
| DA・DI・DA (ダ・ディ・ダ) | 1985 | 2 |
| NO SIDE | 1984 | 2 |
| REINCARNATION | 1983 | 2 |
| VOYAGER | 1983 | 1 |
| ALARM à la mode | 1986 | 1 |
| LOVE WARS | 1989 | 1 |
| 昨晩お会いしましょう | 1981 | 1 |
| OLIVE | 1979 | 1 |
| 悲しいほどお天気 | 1979 | 1 |
Every Yumi Matsutoya track in the room
| Track | Album | Year |
|---|---|---|
| 青いエアメイル | OLIVE | 1979 |
| 影になって | 悲しいほどお天気 | 1979 |
| 夕闇をひとり | 昨晩お会いしましょう | 1981 |
| ようこそ輝く時間へ | PEARL PIERCE | 1982 |
| 真珠のピアス | PEARL PIERCE | 1982 |
| NIGHT WALKER | REINCARNATION | 1983 |
| ずっとそばに | REINCARNATION | 1983 |
| TYPHOON | VOYAGER | 1983 |
| DOWNTOWN BOY | NO SIDE | 1984 |
| 一緒に暮らそう | NO SIDE | 1984 |
| シンデレラ・エクスプレス | DA・DI・DA (ダ・ディ・ダ) | 1985 |
| 青春のリグレット | DA・DI・DA (ダ・ディ・ダ) | 1985 |
| Holiday in Acapulco | ALARM à la mode | 1986 |
| SATURDAY NIGHT ZOMBIES | ダイアモンドダストが消えぬまに | 1987 |
| 思い出に間にあいたくて | ダイアモンドダストが消えぬまに | 1987 |
| 霧雨で見えない | ダイアモンドダストが消えぬまに | 1987 |
| Nobody Else | Delight Slight Light KISS | 1988 |
| ふってあげる | Delight Slight Light KISS | 1988 |
| WANDERERS | LOVE WARS | 1989 |
Near neighbours in this room
These are the artists whose average knob position sits nearest to Yumi Matsutoya's in this room. It is a coordinate match, not a claim that they sound alike.
- Where to start with Naomi Akimoto — city pop, 22 tracks
- Where to start with Mako Ishino — city pop, 11 tracks
- Where to start with PIPER — city pop, 29 tracks
What the open databases say
MusicBrainz lists Yumi Matsutoya as a solo artist, from Hachiōji, Japan and born in 1954. Its contributors tag the artist nyū myūjikku, pop, pop rock, folk pop and aor. These are the open database's facts, not mine — you can check them against the MusicBrainz entry.
Questions
How many Yumi Matsutoya tracks are in Zubissou Sounds?
There are 19, across 12 albums. 19 of them carry a date, running from 1979 to 1989. 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 19 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 19 of these 19 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.