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Fushitsusha
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Fushitsusha (不失者) is a Japanese rock band specialising in experimental and psychedelic rock genres. The band consists of guitarist and singer Keiji Haino, and a shifting cast of complementary musicians. The group released the majority of its material in the 1990s.
Key Information
History
[edit]Haino formed Fushitsusha in 1978, although their first LP was not released until 1989. The band initially consisted of Haino on guitar and vocals, and Tamio Shiraishi on synthesizer. After the departure of Shiraishi, Ayuo joined briefly in 1979 before Fushitsusha became a trio with the addition of Jun Hamano (bass) and Shuhei Takashima (drums). The lineup soon changed, adding Yasushi Ozawa (bass) and Jun Kosugi (drums) throughout the 1990s. Their 1993 album Allegorical Misunderstanding was released on John Zorn's record label, Avant, although most of their albums have come out on independent label PSF and on major label Tokuma.
Fushitsusha recently returned to duo status, with Haino supplementing percussion with tape loops, though the band is believed to have been on hiatus since 2001.
In February 2008, longtime bassist Yasushi Ozawa died.[1]
In August 2015, bassist Chiyo Kamekawa was dismissed because he plays in another band MANNERS. Later, Yasumune Morishige joined as a bassist.
In 2018, Mitsuru Nasuno joined as a bassist.
Music
[edit]The band's sound is influenced by German krautrock bands of the 1970s and British psychedelic music of the 1960s and 1970s. They are generally considered part of the Japanese psychedelic music scene alongside bands like Ghost and Acid Mothers Temple. Their music occasionally ventures to the more aggressive "Japanoise" end of the sonic spectrum, but usually remains haunting and contemplative.
Discography
[edit]Studio albums
[edit]| Year | Album name | Album details |
|---|---|---|
| 1993 | Allegorical Misunderstanding |
|
| 1994 | 悲愴 (aka Hisou / Pathétique / 4) |
|
| 1995 | The Caution Appears |
|
| 1997 | A Death Never to Be Complete |
|
| 1997 | The Time Is Nigh |
|
| 1998 | A Little Longer Thus |
|
| 1998 | The Wisdom Prepared |
|
| 2000 | I Saw It! That Which Before I Could Only Sense... |
|
| 2001 | Origin's Hesitation |
|
| 2012 | Hikari To Nazukeyou |
|
| 2012 | Mabushii Itazura na Inori |
|
| 2013 | 名前をつけないでほしい名前をつけてしまうと全てでなくなってしまうから |
|
| 2013 | まだ温かいうちのこの今に全ての謎を注ぎ込んでしまおう |
|
Live albums
[edit]| Year | Album name | Album details |
|---|---|---|
| 1989 | Radio Code |
|
| 1989 | 1st |
|
| 1991 | Fushitsusha |
|
| 1996 | Purple Trap (The Wound That Was Given Birth to Must Be Bigger Than the Wound That Gave Birth) |
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| 1998 | Withdrawe, This Sable Disclosure Ere Devot'd |
|
| 1998 | Gold Blood |
|
| 2003 | It Was Eternity That Reached Out First |
|
| 2013 | Live at Freedommune 0 <Zero> a New Zero 2012 |
|
| 2014 | Nothing Changes. No One Can Change Anything. I Am Ever-Changing. Only You Can Change Yourself . |
|
Filmography
[edit]- 1991.9.26 – VHS (1992) (Reissued on DVD, 2006)
References
[edit]- ^ "DISKDIG, Disk of Ozawa Yasushi". www.diskdig.com. Retrieved 23 April 2021.
- Official (Japanese)
- Unofficial (English)
- Biography at Allmusic
- Interview with Fushitsusha Archived 4 March 2006 at the Wayback Machine
- Fushitsusha discography
- Another Fushitsusha discography
- Forced Exposure page
- Video of Fushitsusha
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Fushitsusha
View on Grokipediafrom Grokipedia
History
Formation and early years
Fushitsusha was founded in Tokyo in 1978 by Keiji Haino as an experimental rock project, drawing inspiration from free-jazz pioneer Masayuki Takayanagi and the broader Japanese underground music scene.[7] The band's initial lineup consisted of Haino on guitar and vocals alongside Tamio Shiraishi on synthesizer, marking the core duo that defined its raw, improvisational sound during the late 1970s.[3][8] Haino, who has remained the band's constant leader throughout its history, envisioned Fushitsusha as a vehicle for exploring extreme noise and psychedelic improvisation within Tokyo's avant-garde community.[9] In its early years, Fushitsusha immersed itself in Japan's underground avant-garde circuit, performing at intimate venues in Tokyo such as Yaneura in Shibuya and Hosei University Hall, where the group delivered intense, unpolished live sets blending harsh blues riffs with free-form noise.[7] These performances, often documented only through bootlegs or later archival releases, positioned the band amid a wave of experimental acts influenced by 1960s groups like Group Ongaku and Taj Mahal Travellers, contributing to the burgeoning "Japanoise" movement.[10] The emergence of psychedelic elements in their sound, rooted in Haino's fascination with artists like Jimi Hendrix and Blue Cheer, became a hallmark during this formative period.[7] The band made its first recordings in the late 1970s and throughout the 1980s, capturing live improvisations that captured their chaotic energy, though these remained unreleased at the time.[7] Fushitsusha's official debut album, a double live LP simply titled Fushitsusha, was not issued until 1989 by the independent label P.S.F. Records, compiling material from earlier performances and solidifying the group's reputation in the experimental rock underground.[7] Prior to this milestone, the band entered a hiatus from 1983 to 1987, prompted by Haino's need for personal recuperation, during which he focused on solo explorations before reactivating Fushitsusha in 1988.[9]Developments in the 1990s and 2000s
During the mid-1990s, Fushitsusha stabilized as a core trio consisting of Keiji Haino on guitar and vocals, Yasushi Ozawa on bass, and Jun Kosugi on drums, marking a period of consistent activity following earlier lineup fluctuations.[11] This formation, active from 1990 to 1997, allowed the band to refine its intense, improvised sound while occasionally incorporating additional musicians such as guitarist Maki Miura for select performances and recordings.[1] The trio's dynamic emphasized raw energy and spontaneity, transitioning from looser duo or ad hoc ensembles to a more defined rock-oriented structure that still prioritized live improvisation as the heart of their expression.[11] A pivotal moment came in 1993 with the release of their studio album Allegorical Misunderstanding, produced by John Zorn and issued on his Avant Records label, which represented a breakthrough in production quality and accessibility for the band's esoteric style. This recording captured Fushitsusha's psychedelic aggression in a polished yet uncompromising form, drawing attention from international audiences and critics.[7] Subsequent releases on labels like Blast First, including the 1995 double album Purple Trap: The Wound That Was Given Birth To Must Be Bigger Than The Wound That Gave Birth, further amplified their reach, alongside participation in the Table of the Elements series.[12] These efforts facilitated tours in Europe and the United States during the decade, with notable performances such as their appearance at the 1996 Yttrium Festival in Chicago, solidifying Fushitsusha's reputation beyond Japan in underground and avant-garde circuits.[13] By the early 2000s, the band's activity began to wane amid shifting personal commitments, culminating in a hiatus around 2001 that effectively paused their operations. This decline followed a prolific 1990s output but was later compounded by the death of longtime bassist Yasushi Ozawa from cancer in February 2008, an event that reverberated through the group's history even during its dormant phase.[14]Hiatus and reunion
Following the release of Origin's Hesitation in November 2001, Fushitsusha entered an official hiatus, with leader Keiji Haino shifting focus to solo recordings and collaborations amid challenges with band member availability, including health issues affecting longtime bassist Yasushi Ozawa.[15][16][17] This period of inactivity lasted over a decade, during which Haino pursued extensive solo work, such as the album Watashi Dake? (2011), while the band's name was largely dormant.[18] The band began reviving activities in late 2010, with live performances resuming in 2011, leading to a full reformation in 2012 as a trio featuring Haino on guitar and vocals, Mitsuru Nasuno on bass, and Ikuro Takahashi on drums, marking their return with the studio album Hikari to Nazukeyou on Heartfast Records.[19][14][20] This lineup drew from the energetic interplay Haino had developed with Nasuno in their collaborative project Seijaku, emphasizing raw improvisation and psychedelic intensity.[14] Shortly thereafter, for an announced European tour, the rhythm section shifted to bassist Chiyo Kamekawa—known from Yura Yura Teikoku—and drummer Ryosuke Kiyasu, enabling performances across venues like London's St. John-at-Hackney in October 2012.[21][16] In August 2015, Kamekawa was dismissed from the band due to his commitments to other projects, prompting a return to Nasuno on bass alongside Kiyasu on drums for subsequent live outings.[22] This configuration evolved further, with influences from Nasuno's style persisting as bassist Yasumune Morishige joined later in the decade, solidifying the current trio of Haino, Morishige, and Kiyasu, which prioritizes fluid, on-stage dynamics over fixed roles.[23][1] The reformed Fushitsusha maintained a rigorous schedule of live performances, including a 2017 U.S. tour highlighted by a residency at New York's Pioneer Works under the subtitle "Silent," where the band explored extended improvisations blending noise and tranquility.[6] European engagements continued sporadically, building on the 2012 tour with additional dates in the 2010s, while domestic shows in Japan emphasized small venues for intimate, unscripted sets.[24] No new studio albums have emerged since the 2014 triple-CD live release Nothing Changes No One Can Change Anything, I Am Ever-Changing Only You Can Change Yourself—a collaboration with Peter Brötzmann recorded in 1996 but issued post-reformation—the band's output centering on real-time improvisation that captures their evolving chemistry.[25][26] The COVID-19 pandemic disrupted activities in the early 2020s, leading to cancellations such as a planned 2020 concert at Tokyo's ShowBoat amid infection concerns, though the band adapted with limited streaming and archival releases.[6] A resurgence followed, with consistent small-venue gigs in Tokyo, including sold-out appearances at ShowBoat in May and December 2024, and performances at GIGA on May 6, 2025, alongside a birthday show for Haino at ShowBoat on May 3, 2025, demonstrating ongoing vitality through live exploration.[6][27][28]Band members
Current members
The current lineup of Fushitsusha consists of a trio that has been active since the mid-2010s, focusing on extended free-form live improvisations without predetermined compositions.[1] Keiji Haino serves as the band's founder, lead guitarist, and vocalist, having established Fushitsusha in 1978 and remaining its central figure through decades of lineup changes. His raw, improvisational style—characterized by intense vocal expressions and guitar work drawing from psychedelic and noise traditions—defines the group's sonic core.[9] Ryosuke Kiyasu joined as drummer in 2012, bringing dynamic and propulsive percussion that supports the band's chaotic energy while allowing for spontaneous interplay. Kiyasu, a snare drum soloist since 2003, also leads projects like SETE STAR SEPT and co-founded the grindcore band The Endless Blockade, enriching Fushitsusha's experimental edge with his versatile rhythmic approach.[29][30] Yasumune Morishige has played bass since 2015, providing a solid yet fluid rhythmic foundation that anchors the trio's explorations into free improvisation and psychedelic rock. Active in Japan's experimental music scene, Morishige has collaborated with numerous musicians and dancers internationally, contributing to Fushitsusha's emphasis on unscripted, immersive performances.[31][32]Former members
Fushitsusha has featured a rotating lineup of musicians throughout its history, with Keiji Haino as the sole constant member, often drawing from Japan's underground noise and psychedelic rock scenes.[1][33] Tamio Shiraishi served as co-founder and synthesizer player from 1978 to 1979, contributing electronic textures to the band's early experimental sound.[34] Jun Hamano played bass from 1980 to 1984, helping establish the group's rhythm section during its formative trio phase.[34] Shuhei Takashima provided drums from 1980 to 1984, supporting the band's initial live performances alongside Hamano.[34] Jun Kosugi handled drums from 1984 to the late 1990s, bolstering the aggressive energy of Fushitsusha's mid-1980s shows and forming the core trio through their prolific period.[34] Yasushi Ozawa was the bassist from 1987 to 2004, playing a pivotal role in the band's prolific 1990s output before his death in 2008.[34][24] Maki Miura contributed guitar from the 1990s through the 2000s, adding layers to the group's noisy improvisations before semi-retiring to focus on other projects.[34][35] Chiyo Kamekawa, formerly of Yura Yura Teikoku, brought a punk-inflected bass energy to the band from 2012 to 2015 (died April 7, 2024).[36][21] This fluid personnel approach, typical of Japan's noise and psych communities, allowed Fushitsusha to evolve sonically while maintaining Haino's visionary core.[33]Musical style and influences
Characteristics
Fushitsusha is renowned for its fusion of psychedelic rock and Japanoise, characterized by extended improvisations driven by distortion-heavy guitar riffs that create torrential walls of sound. The band's core sonic palette draws from free rock traditions, incorporating hyper-distorted guitars, feedback, and noise experiments transposed into a rock framework, often evoking a sense of monumental disorder. This blend results in performances that dismantle conventional rock structures, prioritizing raw intensity over predefined compositions.[7][37][3] Central to Fushitsusha's identity is Keiji Haino's vocal style, which features screamed, wordless howls, anguished laments, and ghostly chants that range from meditative moans to animalistic squeals. These vocals, often abstract and multilingual in essence, serve as a primal force, weaving through the music with operatic fervor or psychotic intensity, enhancing the improvisational flow without adhering to lyrical narratives. Haino's delivery adds emotional depth, shifting seamlessly between consumptive whispers and explosive cries that amplify the band's cathartic energy.[7][17][37] The band's dynamic range spans contemplative, drone-based passages of quiet reflection to explosive climaxes laden with feedback and harsh noise, embodying a Japanese aesthetic of "Ma"—the interplay of excess and tranquility. This contrast is achieved through spontaneous shifts, where subtle melodic beauty gives way to blistering turbulence, creating a teetering balance between coherence and abandon. Live sets, as unrehearsed rituals, vary dramatically from one performance to another, emphasizing minimal song structures and collective improvisation as the essence of their experimental approach.[17][3][37] Instrumentation remains guitar-dominant, with Haino's incendiary playing supported by bass and drums that provide rhythmic undercurrents amid the chaos, occasionally augmented by electronics for added textural debris. This setup fosters a power trio dynamic, where the guitar's glissandos and metallic noises collide with percussive pulses, enabling the band's signature free-form jams to evolve organically. The result is a sound that prioritizes sonic exploration over technical precision, marking Fushitsusha as a pinnacle of experimental rock ritualism.[7][17][3]Influences
Fushitsusha's sound draws heavily from 1970s German krautrock, particularly the repetitive motorik rhythms and experimental structures of bands like Can and Neu!, which informed the band's extended improvisational jams and hypnotic grooves.[3][38] This influence is evident in the propulsive, trance-like elements that underpin their psychedelic explorations, blending krautrock's minimalism with raw intensity. Similarly, the band incorporates threads from 1960s–70s British psychedelia, including the spacey, atmospheric experimentation of Pink Floyd—especially Syd Barrett's era—and the raw, avant-garde edge of The Deviants, shaping Fushitsusha's ability to evoke disorientation and cosmic drift.[17] Within the Japanese underground scene, Fushitsusha maintains ties to noise pioneers like Merzbow, whose extreme sonic assaults parallel the band's guitar-driven cacophony and commitment to boundary-pushing volume.[39] As part of the broader psychedelic revival in Japan during the 1980s and 1990s, Fushitsusha shares affinities with acts like Ghost and Acid Mothers Temple, contributing to a resurgence of free-form psych rock that reinterprets global traditions through local noise and improvisation lenses.[40] Keiji Haino's broader avant-garde interests further define the band's palette, encompassing free jazz luminaries such as Albert Ayler, whose emotive, spiritual improvisations inspired Haino's early shifts toward unstructured expression in the late 1970s.[39] Punk's raw energy and DIY ethos also resonate in Fushitsusha's confrontational delivery, reflecting Haino's punk-adjacent explorations in the underground. The involvement of John Zorn, who produced their 1993 album The Caution Appears, bridged Fushitsusha to international avant-garde circles, amplifying their fusion of jazz, noise, and rock.[39][41] Critics often compare Fushitsusha's intensity to space rock and experimental acts like Sonic Youth and Swans, noting the shared emphasis on feedback-laden walls of sound and emotional extremity, though Fushitsusha stands unique in its Japanese synthesis of krautrock repetition, free jazz freedom, and noise aggression.[39] Over time, the band's evolution—from early experiments with synthesizers and free improvisation in the 1970s and 1980s to a solidified rock trio format in the 1990s—mirrors Haino's deepening engagement with these influences, prioritizing live sonic rituals over conventional songwriting.[11]Discography and media
Studio albums
Fushitsusha's studio albums, released between 1993 and 2013, number thirteen in total and document the band's progression from raw noise abstractions to increasingly melodic and layered psychedelic explorations. Issued primarily on niche labels like Avant, Tokuma Japan Communications, PSF Records, and Heartfast, these works often appeared in limited editions, enhancing their scarcity and appeal within experimental music circles. The recordings emphasize live-in-the-studio improvisations without overdubs, reflecting the band's commitment to spontaneous creation, while thematic elements draw on themes of impermanence, introspection, and sonic transcendence.| Title | Year | Label | Notes |
|---|---|---|---|
| Allegorical Misunderstanding | 1993 | Avant (AVAN 008) | Produced by the band and John Zorn; recorded summer 1992 at B.C. Studio, Brooklyn; features four extended tracks blending structured psychedelia with noise elements. |
| Hisou (Pathétique) | 1994 | PSF Records (PSFD 50) | Intense, pathos-driven improvisations marking early noise abstraction phase. |
| The Caution Appears | 1995 | Les disques du soleil et de l'acier (CDSA 54039) | Reissued in 2004; explores cautionary sonic landscapes through raw, unpolished jams. |
| A Death Never to Be Complete | 1997 | Tokuma Japan Communications (TKCF 77014) | Recorded November 1996 in London; part of a prolific 1997-1998 period with London sessions emphasizing incomplete finality. |
| The Time Is Nigh | 1997 | Tokuma Japan Communications (TKCF 77015) | Companion to A Death...; urgent, time-bound improvisations from the same London recordings. |
| A Little Longer Thus | 1998 | Tokuma Japan Communications (TKCF 77020) | Recorded February-April 1998 in Tokyo; transitional work with emerging melodic tendencies, no overdubs. |
| The Wisdom Prepared | 1998 | Tokuma Japan Communications (TKCF 77021) | Single 75-minute jam; introspective drones and psychedelic immersion, recorded in Tokyo without overdubs or tapes.[7] |
| I Saw It! That Which Before I Could Only Sense | 2000 | Paratactile (PLE1106/07-2) | Double CD set of extended improvisational explorations. |
| Origin's Hesitation | 2001 | PSF Records (PSFD 8010) | Hesitational motifs in abstract noise, from the band's active 1990s-2000s period. |
| Hikari to Nazukeyou | 2012 | Heartfast Records (HFCD013) | Reunion album post-hiatus; layered improvisations naming the light, with Mitsuru Nasuno on bass and Ikuro Takahashi on drums, signaling a melodic psych shift.[42] |
| Mabushii Itazura na Inori | 2012 | Heartfast Records (HFCD014) | Follow-up to Hikari...; dazzling, mischievous prayers in psychedelic form, continuing the reunion's exploratory vibe. |
| Namaewo Tsukenaide Hosii Namaewo Tsuketeshimauto Subetede Nakunattesimaukara | 2013 | Heartfast Records (HFCD016) | Limited edition exploring themes of unnamed existence through improvisation. |
| Madaatatakaiuchino Konoimani Subetenonazowo Sosogikondeshimaou | 2013 | Heartfast Records (HFCD017) | Final studio release, incorporating accessible psychedelic structures while retaining improvisational cores. |