I have to admit: one of my deep regrets from my recent trip to Japan was missing out on visiting the storefront of today’s guest, Yohei Kunitomo. It was somewhere in Tokyo’s Shimokitazawa neighborhood that I lost track of time and lost my opportunity to visit Pianola Records – to really get a feel of the place and its thoughtful owner.
One of the things that attracted me to reach out to Yohei has always been just how I encountered his work. Whether trolling for information or simply doing some online digging, on many occasions I’ve encountered a product page at Pianola Record’s online store that illuminated a bit of a certain something I was looking for. I always thought: whoever was in charge of this really cares about what they sell (at least enough to give you an honest opinion and background behind the piece). I also thought: when possible reach out and see if you can get their story.
In a way, I feel Pianola Records takes certain inspiration from the business park it’s found in, dubbed: Bonus Track. Located just blocks from the large, newly-built Keio Corp. and Odakyu Co. station, Bonus Track gathers a motley selection of businesses – restaurants, book shops, bars, and Yohei’s record store, to name precious few – trying to give them a space to build a new community of sort, one that harkens closer towards the uniquely, bohemian, hodgepodge vision that made such a neighborhood attractive to its rapidly dwindling long-time residents and less towards the increasingly gentrified vision of commercial developers.
The more I read our conversation, the more I’m struck by Yohei’s frank discussion of what journey it took to get him there. Like most things, his story is not linear, and he’s open to admit where chance or fortune played a role – and also where hard work and dedication can yield some measure of success (even if it’s in the very human gradients of it).
As not only the proprietor of Pianola Records but also the co-creator and label head of record label, Conatala, with cassette releases from artists like 7FO and banana – or going back to collaborative releases like Pale Cocoon’s 繭 (Mayu) and Satoshi Suzuki’s Distant Travel Companion with Austin’s Incidental Music – you start to feel that here’s a person who understand most of what he wants to do and is open enough to collaborate with others to achieve whatever that direction this takes him.
Whether djing at Shibuya’s forestlimit, a long-time haunt, where together with friends they’re developing a newer vocabulary for contemporary Japanese experimental music, or elsewhere, giving advice on what else you might get yourself into, Yohei definitely speaks different, in a way that invites communication. My hope is that all of you that are interested in Pianola take time out to visit Yohei and a few of you let him know that (fate-permitting) I’ll make it soon there, as well.
For now, let’s pick up our conversation from the beginning…
Yohei Kunitomo (Pianola Records) Interview
F/S: Yohei, can you share a bit about yourself? I know Pianola is based in Shimokitazawa. Is Tokyo where you were born and raised?
Yohei (Pianola): I was born in Takamatsu City, which is located on Shikoku island, but soon moved to Chiba prefecture. I have moved a few times, but spent most of my teenage years in Chiba.
F/S: Let’s go way back, before Pianola existed. What kind of a kid were you growing up? Were you always into music? What role did listening to music play for you then?
Yohei (Pianola): Around the age of five, I was starting to play the piano with my older sister. My parents weren’t particularly enthusiastic about records, but my father used to play drums in a rock band when he was young and my grandfather was really into classical music. So, playing the piano had an influence on me during my childhood.
During my early elementary school years, like other kids in my class, I listened to popular songs from the hit charts. However, at the same time, my musical identity began to gradually develop due to the environment mentioned earlier. I started exploring classical piano pieces and began pulling out records from my parents’ collection, which included artists like The Beatles, Rolling Stones, Stevie Wonder, The Crusaders and some random jazz records.
F/S: At what point did you start to go down that road of “collecting” music? How did you consume or listen to music then?
Yohei (Pianola): As a teenager, I started listening to a wide variety of music without any limitations. Centered around ‘90s alternative rock, I ventured into classic rock, hip-hop, techno, metal, and more. By the time I began developing an interest in Japanese underground music and experimental sounds, I had already entered university.
I began purchasing records of my own choice from second hand stores around the age of 15, but I wasn’t yet passionately engrossed with vinyl. Throughout high school, I frequently visited Disk Union, a store I was fond of. I enjoyed walking around town or listening to music during my commute to school.
During this period, my collection mainly consisted of CDs. I delved deeply into the world of vinyl after crossing the age of 20. However, I must admit that I inherently lacked the talents and patience required of a dedicated collector. With limited money at the time, my journey involved a continuous cycle of buying and selling records from the very beginning.
F/S: Was there anyone you turned to or drew inspiration from, when it came to checking out music?
Yohei (Pianola): When I was a teenager, there were numerous excellent music magazines, and for us who didn’t have YouTube or streaming services, we had no choice but to imagine the text and cover images found within them. I primarily read Japanese magazines, but I was influenced by overseas ones as well, such as RE/Search. And the most important part were some independent record stores. They taught me how to appreciate music deeply. My musical life would not have been possible without their guidance.
F/S: When did you get an inkling or the inspiration to actually start selling your records? When did that cross the line and make you go: “I’ve got to start a record store?”
Yohei (Pianola): After graduating from university, I began working part-time at Disk Union, where I was able to cultivate a vast amount of information and knowledge through my work at the record store. I quickly found enjoyment in my role, being entrusted with curating specific sections in the store. As I continued to grow musically, I started to develop my current style of exploring various genres without confining myself to any specific category, incorporating experimental music, ethnic sounds, and diverse musical elements. Over the course of several years, the idea of owning my own store began to take shape, and it’s something I aspired to achieve.
F/S: Can you share the story behind how Pianola Records started? Was it always a physical store or did it start some other way?
Yohei (Pianola): After leaving Disk Union, I started working at HMV Record Shop and began traveling frequently to Europe and the United States for record buying. During these trips, I established connections with dealer friends and fellow collectors, and engaged in conversations with independent record store owners. It was in these interactions that I started to feel a strong sense of confidence in my ability to create a unique physical store, using my own strengths.
The facility where my store is situated, known as “BONUS TRACK,” is a multi-purpose establishment designed with the concept of supporting entrepreneurial startups. When I was searching for a location to launch my own store, a colleague with whom I continue to run a record label, was already working there. Their invitation to consider opening a shop within the facility became the decisive factor for me.
F/S: Some of my readers might not know of or appreciate Shimokitazawa. Unlike Shinjuku or Shibuya, what I know of it is that it’s famously free-spirited and laid-back. Can you explain what drew you to opening a shop there?
Yohei (Pianola): First of all, I was not initially drawn to Shimokitazawa. I used to like this city. The old Shimokitazawa used to have many live houses, record stores, small theaters, vintage shops, and traditional drinking establishments, all intertwined within an independent and vibrant atmosphere, or so it seemed. However, with the influx of large-scale developments and corporate influence, the once-thriving cultural charm has diminished, and the neighborhood is gradually being diluted into a more generic environment, similar to other areas.
The area where my shop, BONUS TRACK, is located, is also a development zone. In the past, there were train tracks running through it, but it has become an area of development due to the subway expansion, which was undertaken by the railway company.
Exciting facets continue to thrive in Shimokitazawa, and the shops that have historically contributed to its cultural vibrancy remain steadfastly present. In partnership with such establishments, at BONUS TRACK, I am hosting record fairs. It is my aspiration for this space to become a blend where both traditional and contemporary values intertwine harmoniously. I am interested in reclaiming a space where both the people who used to hang out in this town and the younger generation can coexist.
F/S: Were there any difficulties that you had or that you still have running the store? Did you ever feel that, maybe, this venture wasn’t going to work out?
Yohei (Pianola): Like any small-scale personal business, running a record store indeed presents its challenges, but it also offers a fantastic opportunity to support the community of music enthusiasts and contribute to the music culture. Approaching it with passion and ingenuity can enhance the likelihood of success.
F/S: Pretend none of the readers ever visited your store, why do you think (we, as potential customers) should make the journey over? Is there something special or a certain focus there we should look forward to?
Yohei (Pianola): While we do have a selection similar to that of a regular record store, describing my shop to people who haven’t visited is a challenge even for me. If someone has specific items they’re looking for in advance, I might not recommend it too strongly. This is because those desires can be partially fulfilled online. I prioritize showcasing captivating products for those seeking an experience that stimulates their senses within a record store. In essence, it might not be the best fit for those looking for a thorough “digging” experience.
F/S: What kind of records, albums, or genres have you seen become popular over the years you’ve run the store?
Yohei (Pianola): It depends on the occasion. Other than products from my label and unearthed deadstock items, there’s a MIX-CD that might come as a surprise. It’s a selection titled rotae by Atsuo Ogawa, released in 2007. Despite being a minor artist known for DIY and home recordings, the compilation spans from psychedelic to outsider music. Unintentionally, it perfectly embodies the taste of my store. His mix is truly unique; he intentionally left the windows of the room open during recording, allowing random ambient sounds from outside to seep in. The audio was then captured using a small, inexpensive guitar amplifier connected to a mixer and recorded with a handheld recorder.
F/S: How have you seen the popularity of Japanese music and/or home-grown content change over time? What do you think about its growing popularity worldwide?
Yohei (Pianola): In recent years, there’s no doubt that City Pop and Japanese jazz have undoubtedly gained significant popularity. The fact that something that was very domestic in terms of sensation has now captured the attention of music enthusiasts worldwide is, in essence, a positive development for the entire music culture. While the entry of major corporations and transient consumption can be exhausting, the discussion about these aspects delves into matters of ideology, so I don’t intend to elaborate much on that here.
F/S: From YouTube to podcasts, what are your thoughts on how people discover music now? Do you still feel like you fill a role, in real life, that’s important for customers?
Yohei (Pianola): I generally do not hold a negative view about the fact that music has become more accessible through platforms like YouTube and other streaming services. However, it is disappointing to see people constantly using Shazam during a club party. While the process and choice of music are ultimately individual freedoms, I have not hoped for such individuals to visit my store. I believe it’s important to provide a good experience for those who come to have fun. I do not desire to provide guidance to customers on how to search for records or music.
F/S: What kind of environment do you hope to promote at your store? How important is it to provide a good atmosphere for your customers?
Yohei (Pianola): Basically, I keep quiet, but I try to provide as much information as possible when a customer asks me a question. Each customer has their own comfortable space, so don’t care about it too much.
F/S: May I ask how you source the music you carry now? Do you still enjoy discovering new music to sell or promote to others?
Yohei (Pianola): I source new records directly through independent labels, but I am facing challenges due to rising shipping costs and the increased cost of record materials. This has led to higher selling prices, which is difficult. However, I am committed to continuing to offer a combination of new releases from current artists and reissued albums, along with second-hand items. I am not considering discontinuing my sourcing efforts.
F/S: Some of my readers might not know this but Pianola also runs a record label dubbed, conatala. I know friend of the blog, Austin from Incidental Music, collaborated with you to release Pale Cocoon’s 繭 (Mayu) and since then its grown to reissue other artists like World Standard and most recently, Banana. What led to its creation and how do you see it evolving as its own entity? What does conatala mean/signify, if you don’t mind me asking?
Yohei (Pianola): Before I even started my own shop, I served as a resident DJ at the Ideala listening party, which continues to this day at the Forestlimit club. Several individuals who later became members of Conatala were also residents at that event. Alongside my club event companions, Tatsuhiko Sakamoto, who compiled the MIX-CD Nuovo Repertorio Editoriale Italian Post-Moderno Library 2 1984-1989 distributed through Pianola, would occasionally host listening sessions where we brought records and cassettes to the Tangram hair salon he operates. During that period, a shared interest in various formats, not limited to just records but also including CDs, cassette tapes, and even laser discs, led to the playing of sound sources that resonated with the moment. Sometimes we’d invite guests like Spencer Doran, the crew from 12th Isle, and Austin Tretwold, when they came to Japan.
The Pale Cocoon project came about when I met Austin during that time, and he brought forth the idea. Coincidentally, we also had a vague idea of starting our label at that moment. Additionally, considering our personal experiences with cassette tapes from Pale Cocoon, we decided it would be great to collaborate on this venture together.
Originally, it began as a gathering of music enthusiasts, and one of the interests in starting a label was how to give shape to our indefinable musical inclinations. There was also a desire to share works that were not receiving much attention at the time, and by spreading them to a wider audience of music fans, there was a sense of repaying the gratitude we felt towards the music we enjoyed.
The meaning of “Conatala” is a simple wordplay, and explaining it to people from abroad might be a bit challenging.
F/S: Can you tell us a bit of what kind of role you played in Satoshi Suzuki’s compilation, Distant Travel Companion (遠い旅の同行者)?
Yohei (Pianola): A few years before hearing Satoshi Suzuki’s ideas from Austin, our circle, including Conatala, had organized a live event featuring him at Forestlimit. Since he had already become an artist cherished and admired among our fellow members at that time, it was only natural for us to step up and offer our support for the project. What I did was act as an intermediary between Austin and Satoshi, helping to bridge language nuances that might not have been fully conveyed, as well as providing ideas for certain song selections and insert concepts.
F/S: On a good day, what would you consider a success for Pianola and conatala? Are there some goals you’ve hit that you feel proud of?
Yohei (Pianola): While financial success to sustain ongoing efforts is a premise, I consider the ultimate success to be when the artists we collaborated with found satisfaction in the released works and if those creations led to positive outcomes in their subsequent lives. If they felt that way, then I believe that is the greatest achievement.
F/S: Of course, not every day can be sunshine. Can you relate some of the harder things you’ve had to deal with? Is there anything you know now that you wish a younger version of yourself could learn from?
Yohei (Pianola): Running a label or a shop involves experiencing both good and bad times, but fundamentally, it seems you find happiness in sharing various music and artists while engaging with them. If I were to give advice to my inexperienced and reckless self from a few years ago, it would be that it’s crucial not to neglect any preparation beyond what you anticipate.
F/S: From the near lack of tourism to the many uncertainties of the past – how did Pianola make it through the Coronavirus lockdown in Japan? How challenging was this time and did you adapt, in some way?
Yohei (Pianola): I opened my shop in April 2020, right after the initial lockdown occurred in Japan. While the government didn’t impose a complete business shutdown, I found myself starting a business amidst the chaotic mix of significant uncertainty and hopeful expectations as the pandemic unfolded. Strangely enough, as a first-year sole proprietor, I wasn’t able to access any of the assistance provided by the government during the pandemic. With no other options available, I had to continue operating the business without knowing if customers would come in, all while navigating through these perplexing circumstances.
Fortunately, I was blessed with customers, and I was able to maintain the envisioned business model from the very beginning of the opening. I’ve been able to continue running a face-to-face physical store where people can truly enjoy the experience of visiting, without relying too heavily on the online business aspect. Of course, without the impact of the pandemic, the current situation would have been much better, but I’m still grateful for the positive outcome I’ve been able to achieve.
F/S: How does it feel now that Japan has opened up to tourism again? Have you noticed a change in the air and in your store?
Yohei (Pianola): The number of overseas collectors and DJs visiting my store has increased. Some even mentioned that they were looking forward to visiting my shop during the pandemic. However, many tourists tend to gravitate towards larger retail outlets, so there’s no risk of my store becoming overcrowded and causing panic. Since my priority is to create a comfortable and enjoyable experience for the regular customers who visit, this situation works well for me.
F/S: Finally, any words of wisdom you’d like to impart to any of the readers who are looking to get into the record store business or release records themselves?
Yohei (Pianola): It’s wonderful to see an increase in individuals starting their own record labels or record stores, and I’m genuinely thrilled to witness the growth of this captivating scene. While there are limitless possibilities for operational methods and concepts, it’s important to acknowledge that it’s not an easy endeavor by any means. However, even considering the challenges, if you’re strongly drawn to embark on the exciting adventure of independent operation, it might be wise to start sooner rather than later.
[Editor’s Note: I’d like to once again thank Yohei for the time he spent answering my questions. Make sure to find him either online or in person at Pianola Records at Bonus Track.]