Ymo (11 results)

Condition: Fine. Number of books: 1.

Condition: Fine. Number of books: 1.

Condition: Fine. The book is in fine condition.

Condition: Fine. The book is in fine condition.

Condition: Fine. Number of books: 1.

Condition: Fine. The book is in fine condition.

Condition: Fine. Number of pages: 192p Size: 18cmx23cm.

Condition: Fine. Number of pages: 192p Size: 18cmx23cm.

Condition: Fine. Number of pages: 192p Size: 18cmx23cm.

Couverture rigide. Condition: bon. RO80197464: 1981. In-12. Relié. Bon état, Couv. convenable, Dos satisfaisant, Intérieur frais. 1062 pages - texte sur 2 colonnes - OUVRAGE EN GREC -. . . . Classification Dewey : 480-Langues helléniques. Grec.

One of those strange, elusive Japanese objects that sits somewhere between music memorabilia, design object, artist publication and collectible ephemera. And yes: among YMO collectors this piece has become genuinely sought-after. The object in your photo is generally known as the "Technopolis Book Cassette" (?????? ???????), a promotional publication created around 1980 in collaboration with Fuji Cassette during the height of Yellow Magic Orchestra's explosion in Japan. It was not conceived as a normal commercial album release but as a special promotional item tied to Fuji's cassette campaign. ([k.mandarake.co.jp][1]) The first thing that makes it special is that it isn't really a book and it isn't really a cassette release either. Inside you got: ? a specially produced booklet ? an audio cassette ? visual design connected to YMO's techno-futurist identity ? recorded spoken material and conversations rather than simply a standard music album presentation What you photographed is especially iconic because of the packaging itself. The front imitates the interface of a cassette deck in obsessive detail: LED counter, level meters, transport buttons, recording indicators, labels and technical markings. This wasn't accidental decoration. Around 1979-1980 YMO were presenting themselves almost as a human-machine system rather than a traditional rock band. The aesthetic sat between consumer electronics, Tokyo futurism and playful parody of technology. ([ELECTRICITYCLUB.CO.UK][2]) The title "Technopolis" is also important. Technopolis was already one of YMO's defining tracks, originally appearing on the album Solid State Survivor. The piece became almost a manifesto for the group's vision of Tokyo as an electronic metropolis: synthetic voices, sequencers and a sleek machine rhythm that later influenced generations of electronic musicians. ([Wikipedia][3]) As for the physical cassette inside your image: You can see the Fuji branding directly on the shell. That detail matters because YMO had an actual promotional relationship with Fuji Cassette at the time, which helped spread their image far beyond record shops and into mainstream Japanese consumer culture. Why collectors chase this piece today: ? It had a limited distribution compared with standard YMO albums. ? Many copies lost either the booklet or cassette over time. ? The outer sleeve is fragile and shows edge wear very easily. ? Complete examples with clean corners and intact cassette windows are increasingly uncommon. ? It appeals simultaneously to YMO collectors, Japanese graphic design collectors, cassette culture collectors and photobook / artist publication collectors. From a photobook perspective ? which I think you'll appreciate ? this object behaves much more like a Japanese media publication than a music release. It fits into the same collecting logic as rare Japanese visual culture objects: hybrid formats, unconventional printing, and limited circulation. In today's market it often attracts the same buyers who collect Rare Photobooks, out of print photobooks and experimental artist books rather than only record collectors. Condition matters enormously here: A complete copy with cassette, inserts and minimal yellowing can be dramatically more desirable than a worn example. Missing the cassette usually hurts collectibility a lot more than minor shelf wear. One thing I love about this object is that it already anticipated things that became normal decades later: multimedia editions, experiential packaging and editions where the container becomes part of the artwork. And your copy image actually looks visually stronger than many surviving examples I've seen because the deck illustration still reads clean and the cassette window appears present. If you want, I can also go deeper and reconstruct exactly what contents were included inside the cassette and booklet page by page.