Hubbry Logo
PolysicsPolysicsMain
Open search
Polysics
Community hub
Polysics
logo
8 pages, 0 posts
0 subscribers
Be the first to start a discussion here.
Be the first to start a discussion here.
Polysics
Polysics
Polysics
View on Wikipedia
from Wikipedia

Polysics (ポリシックス, Porishikkusu; typeset POLYSICS) is a Japanese new wave/electronic rock band from Tokyo, who dubs its unique style as "technicolor pogo punk". It was named after a brand of synthesizer, the Korg Polysix. The band started in 1997, but got their big break in 1998 at a concert in Tokyo. They create high energy music, fusing conventional guitar music with synthesized and computer generated sound to create a unique mixture of punk and synthpop heavily inspired by the American bands Devo and the Tubes, as well as Japanese bands such as P-Model and Yellow Magic Orchestra. Their song lyrics often consist of Japanese, English, or even gibberish. The band has been noted for their extremely energetic live performances and their wild gimmicky outfits, notably their straight-bar sunglasses and trademark orange boiler suits stamped with a simple "P".

Key Information

History

[edit]
Hiroyuki Hayashi plays guitar at a POLYSICS live show in 2003, supporting the US release of the album Neu

Polysics was formed in 1997 by Japanese high-school student Hiroyuki Hayashi. After watching some live footage of Devo and becoming inspired by new wave music of the West, Hayashi quit his soccer team and formed a band to expand on the cartoonish image and musical ideas of the zany art-punk icons he had seen on TV. He was joined by drummer Junichi Sugai and Sako (aka Poly 2). Another member named Kaneko joined within the early years of the band, but he left and was soon replaced by Kayo. Kayo's mechanical stage presence provided an asymmetrical dynamic to the frenetic antics of the other three members. The name of the band derives from the first synthesizer owned by Hayashi, the Korg Polysix. This synth appears in two of their early music videos.

In 1999, Polysics released their first albums 1st P and A.D.S.R.M! on the independent label DECKREC Records. Just after the release of 1st P their bassist, known only as "POLY-2", left. The band dropped the "POLY-X" names, and reduced to a trio, with new member Fumi on Bass Support on some of the tracks from Neu. In 1999, Asian Man Records released their US debut album, Hey! Bob! My Friend! to rave reviews, but weak sales. The album was a compilation of tracks from their first two Japanese releases. In 2000, Polysics signed to Ki/oon Records (a subsidiary of Sony Music Japan Inc.) and released their first major album Neu. The album carried with it the same manic energy as their independent releases but more refined. On the 2001 album Eno, Synthesizers became more prevalent in the mix, but the songs still had an intense punk-like energy. For this album, Fumi applied as a full member, returning Polysics to a quartet. 2002 saw the release of the album For Young Electric Pop, Polysics' attempt at a pop album. The manic punk energy was minimized, but the band showed it had an amazing sense of harmony and style.

In 2003, Neu was released in the United States on Asian Man Records to rave reviews and great sales. However, shortly after recording the Kaja Kaja Goo EP drummer Junichi Sugai left the band. Ishimaru (drummer for the punk group Snail Ramp) temporarily joined as a replacement. For the 2003 album National P, Polysics went to the US to tour, which was then captured on the PippikkippippiP In USA DVD.

Also during 2003, Polysics appeared on UK television for the programme Adam & Joe Go Tokyo performing "Kaja Kaja Goo".

In 2004, Polysics released a greatest hits compilation titled Polysics or Die!!!! in Europe and the United States. Yano had also replaced Sugai as the new drummer for the band in this year. Polysics toured Europe and the US for the 2005 US Release of Polysics or Die!!!!. With the early 2006 release of Now Is the Time!, they toured the US and the UK, supporting high-profile UK artists such as Graham Coxon and Kaiser Chiefs.

On February 28, 2007 Polysics released their album Karate House in Japan.

Following this Polysics signed for MySpace Records making plans to re-release Polysics or Die!!!! in the US, with the inclusion of the latest singles from Karate House and a bonus DVD of videos and live cuts. Polysics or Die!!!! Vista was released on October 9, 2007 for Myspace Records exclusively for the United States, to mark the band's ten-year anniversary. Hayashi did a remix of the "Teen Titans Theme" by JPop group Puffy AmiYumi. The song "Teen Titans Theme ~POLYSICS' CR-06 MIX~" appears on their US album Splurge.

On April 23, 2008, We Ate the Machine was released in Japan. It was released on September 30, 2008 in North America.

In their newsletter it was announced that Kayo's last day with Polysics would be March 14, 2010, the day of their huge Nippon Budokan concert. She says that she has spent happy and quality time with the band, but she wants to live on as a woman and not a musician.[1]

Their Budokan concert, BUDOKAN OR DIE!!!! 2010.3.14, was released on July 7, 2010 on both DVD and Blu-ray.

On August 8, 2010 they came back from their hiatus during the Rock in Japan Festival as a trio in brand new outfits and visors.

They covered Buck-Tick's "Sid Vicious on the Beach" for Parade II -Respective Tracks of Buck-Tick-, released on July 4, 2012.[2]

In 2018, Polysics started a side project called The Vocoders, with a presentation modeled off Kraftwerk.

Influences

[edit]

In Hiroyuki's words, Polysics is inspired by "the spirit of Devo." Obvious references to Devo have been made in Polysics videos, and songs. The band has also covered "Jerking Back And Forth", "Social Fools", "Secret Agent Man" and on their 15th anniversary album, 15th P, Devo front man, Mark Mothersbaugh joined the band to perform a new version of "Mecha-Mania Boy". Polysics have also creatively repurposed Devo and other new wave/punk material in their own original songs; for instance, in the song "Each Life Each End" from the album "Neu" they borrow the opening riff from the Devo song "Girl U Want" (along with a sample from "Love Missile F1-11" by Sigue Sigue Sputnik), and the lyrics are playfully paraphrased from Devo's "The Day My Baby Gave Me A Surprise" and "Red Eye Express." The tributes even extend to the album art; in a miniposter included with the album "National P", the members of Polysics are shown seated around a picnic blanket, about to eat cakes shaped like Devo's famous red Energy Dome headgear. In addition, the giant robot mascot from the cover of their "Lo-Bits" EP sports a battle helmet that resembles the same iconic dome.

While Polysics claim Devo as their most prevalent influence, other bands and artists that have influenced their music, are occasionally referenced in their album or song titles, and whose music has sometime been repurposed in similar ways include Neu!, Brian Eno, XTC, Yellow Magic Orchestra, P-Model (who they have opened for), Talking Heads, Sparks, The B-52's, King Crimson, Kraftwerk, Denki Groove, Nirvana, Man or Astroman, Spoozys, and David Bowie, Hikashu and Plastics. Polysics have covered songs by Devo, Styx, Suzi Quatro, Plastics, The Ramones, The Knack, Soft Cell, Hikashu, Thin Lizzy, P-Model and Frank Sinatra and have been known to play Yes during their sound checks.

Members

[edit]

Discography

[edit]

Soundtracks

[edit]

Legacy

[edit]

In 2020, Jonathan McNamara of The Japan Times listed For Young Electric Pop (2002) as one of the 10 Japanese albums worthy of inclusion on Rolling Stone's 2020 list of the 500 greatest albums of all time, describing it as "a top-tier Polysics record and an accessible introduction to a band unequaled in their ability to leave you grinning from ear to ear."[7]

Neil Cicierega of Lemon Demon cites Polysics as one of his musical influences.[8] In the text commentary to his 2006 album Dinosaurchestra, he says that the song "Neverending Hum" was inspired by Polysics and Devo. In 2007, he posted a video of him dancing in fast motion to Polysics' "Jhout" to his YouTube channel.[9]

References

[edit]
[edit]
Revisions and contributorsEdit on WikipediaRead on Wikipedia

Polysics

View on Grokipedia
from Grokipedia
Polysics is a Japanese electronic rock band from , formed in 1997 by guitarist and vocalist Hiroyuki Hayashi after he was inspired by a live video of the American new wave band . The group is renowned for its high-energy live performances, characterized by frenetic stage antics and members wearing matching boiler suits, blending guitars with synthesizers, vocoders, and computer-generated sounds to create a distinctive "technicolor pogo punk" style. Influenced by acts such as , , , and , Polysics incorporates lyrics in Japanese, English, and nonsensical phrases, often drawing from 1970s and 1980s new wave and . The band debuted independently with the album 1st P in 1999, followed by A・D・S・R・M! in 1999, before signing with for their major-label breakthrough album NEU in 2000. Early lineups featured fluctuating members, including synth player POLY-2 (1997–1999), drummer Junichi Sugai (1998–2003), and longtime keyboardist and vocalist Kayo (1998–2010), who contributed to the band's signature electronic elements. Since Kayo's departure in 2010, Polysics has operated as a trio with core members on guitar, vocals, and programming; Fumi on bass, , and vocals (joining in 2001); and Masashi Yano on drums (since 2003). The band took a brief hiatus in 2010 before returning, releasing albums like We Ate the Machine (2008), eee-P!!! (2011), and In the Sync (2019). Notable for their international tours and in the West, Polysics continues to perform actively as of 2025, with tours including shows in .

History

Formation and early years (1997–2000)

Polysics was formed in 1997 in by high school student Hiroyuki , who was inspired by live footage of the American new wave band and sought to create music with a similar energetic, synth-driven sound. The band's name derived from 's first , the . Initial members included on vocals and guitar (as Poly-1), Poly-2 (real name Eisuke ) on bass and , and Poly-3 (Masafumi Kawabe) on and bass. The group began performing live in 's underground music scene that year, drawing small but enthusiastic crowds with their high-energy performances blending punk and electronic elements. In 1998, Polysics achieved a significant with a standout concert in that expanded their visibility within the local indie circuit. This led to lineup expansions, including the addition of Kayo on keyboards and in of that year, along with drummer Junichi Sugai; bassist Kaneko Shingo briefly joined but departed soon after. These changes solidified the band's core sound, emphasizing synchronized, Devo-like stage antics and visuals that helped build a dedicated fanbase in Japan's alternative venues. By early 1999, following the release of their debut mini-album 1st P on the label DECKREC Records, bassist Poly-2 (Eisuke Sako) left the group. The band abandoned the anonymous "Poly-X" naming convention, operating as a trio with , Kayo, and Sugai, and shifted toward a more guitar-oriented rock approach while retaining synth elements. Later that year, they issued their second album, A・D・S・R・M!, which further showcased their rapid, pogo-inducing style and attracted attention from major labels. In 2000, Polysics signed with Ki/oon Records, a subsidiary of , marking their transition from the indie underground. Their debut major-label album, Neu, released in September, compiled and remixed tracks from their earlier work, introducing their sound to a broader audience while maintaining the frenetic energy that defined their formative years.

Major label era and peak activity (2001–2009)

Following their major label debut with the 2000 album Neu, Polysics released their second full-length album, Eno, on June 6, 2001, showcasing a refined blend of new wave and punk elements with tracks like "New Wave Jacket" and "Eno." Concurrently, bassist Fumi, who had previously served as a support member since 1999, joined as a full-time performer, solidifying the band's quartet lineup of Hiroyuki Hayashi on guitar and vocals, Kayo on keyboards and vocals, Fumi on bass and , and Junichi Sugai on drums. The band's momentum continued with For Young Electric Pop on July 24, 2002, featuring energetic tracks such as "My Sharona" and "Weekenders," which highlighted their high-octane live sound. In 2003, National P arrived on October 29, incorporating playful synth-driven songs like "Mr. Electric Shock!!" and a collaboration "Kaja Kaja Goo" with TOO SHY. However, shortly after recording the Kaja Kaja Goo single in May 2003, drummer Junichi Sugai departed, leading to a brief period of adjustment. Masashi Yano joined as the new drummer in 2004, bringing fresh energy and stability to the rhythm section for subsequent releases. Polysics maintained a prolific output through the mid-2000s, releasing Now Is the Time! on October 19, 2005, with hits like "Tei! Tei! Tei!" that emphasized their technicolor punk style. The 2007 Karate House, dropped on February 28, included the single "" released in November, capturing their explosive performance ethos. We Ate the Machine followed on April 23, 2008, featuring tracks such as "" and "Moog is Love," while the live We Ate the Show!! documented a high-energy concert at Shin-Kiba Studio Coast in June 2008. Their final major-era studio , Absolute Polysics, emerged on January 21, 2009, delivering a concise 35-minute set of tight, passionate songs that reflected their evolving sound. A limited reissue of early works 1st P / A.D.S.R.M! in February 2009 underscored their growing catalog. Internationally, Polysics expanded their reach with tours across the and , including a 2007 stint as openers on the MySpace Music Tour after signing with MySpace Records, which facilitated US re-releases of Polysics or Die!!!!, Karate House, and We Ate the Machine. They conducted three US tours between 2007 and 2009, culminating in performances that boosted their global profile. In , this era represented their peak popularity, characterized by sold-out high-energy shows, media appearances, and a landmark live recording at in 2009, later released as Budokan or Die!!!! in 2010, symbolizing the era's intensity.

Later developments and current status (2010–present)

Following the departure of longtime member Kayo, who performed on , vocals, and , after the band's concert at on March 14, 2010, Polysics continued as a trio consisting of Hiroyuki Hayashi on guitar and vocals, Fumi on bass and , and Masashi Yano on . The band briefly paused activities to reorganize before resuming with a focus on their core sound. In the years that followed, Polysics released several albums independently or through smaller labels, maintaining their high-energy style while experimenting with production. Key releases included Oh! No! It’s Heavy Polysick!!! in 2011, a full-length album emphasizing heavy riffs and electronic elements; 15th P and Weeeeeeeeee!!! both in 2012, marking anniversary celebrations with remixes and new tracks; Action! in 2014, featuring dynamic punk-infused songs; What’s This??? in 2016, exploring quirky ; That’s Fantastic! in 2017, a vibrant collection of upbeat numbers; and In the Sync in 2019, their studio from that year, which incorporated synchronized rhythms and guest contributions. During this period, the band expanded their live setup with touring guitarist Ryo Nakamura from 2017 to 2020, adding layers to performances on , guitar, and vocals. In 2018, Hayashi initiated a side project called The Vocoders, featuring himself, Fumi, , and Nakamura, styled as a "cafe " group with vocoder-heavy tracks and a presentation inspired by Kraftwerk; their debut release, 1st V, arrived in 2019 alongside In the Sync. Since 2019, Polysics has remained active with live performances and new releases. In 2025, they released the studio album Rocket, continuing their synth-punk sound. The band toured Japan, including the TOISU de DISCO 2025東北ツアー with the telephones, featuring dates in November 2025 such as November 22 in , November 23 in , and November 24 in Fukushima. They also announced a one-man show at Top Beat Club for February 15, 2026, commemorating the venue's 3rd anniversary. As of November 2025, the trio lineup persists without further changes, though the official website shows minimal updates.

Musical style and influences

Musical style

Polysics' musical style is characterized by a high-energy fusion of new wave, synth punk, and elements of J-rock, featuring fast tempos, robotic vocals processed through vocoders, and prominent electronic textures that create an abrasive, edge. This sound draws on nerdy new wave revivalism while incorporating no-wave abrasion and electro influences, resulting in a frenetic, danceable energy that evokes the punk-synthpop hybrids of the late and early . The band's instrumentation centers on synthesizers for squiggly leads and loops, overdriven guitars for riff-driven propulsion, bass, drums, and unconventional keyboards like recorders, all layered to produce a dense, multifaceted wall of sound. Vocals, often delivered by frontman Hiroyuki Hayashi, alternate between clear singing and vocoder effects for a mechanical, preening quality, with both male and female harmonies (from vocalist Kayo until 2010) adding to the chaotic interplay. In live performances, this setup supports synchronized, Devo-like stage antics, where the band members—clad in wild gimmicky outfits such as orange boiler suits and straight-bar sunglasses—execute precise, theatrical movements alongside props and high-octane audience interaction to amplify the robotic futurism. Lyrically, Polysics explores futuristic and playful themes through a mix of English, Japanese, and invented "space language" , often rendered nonsensical to prioritize phonetic fun over narrative depth. Their songs are typically short and punchy, clocking in under three minutes, with infectious hooks, jerky rhythms, and call-and-response structures that emphasize catchiness and mosh-pit accessibility. Over time, Polysics evolved from a raw, indie-rooted art-punk sound in their early years to more polished major-label productions that retain punk urgency while integrating varied rock orientations and subtle repetitive rhythms reminiscent of krautrock's hypnotic drive. This progression is evident in albums like (2000), which expanded on prior rawness with broader textural variety, leading to sleeker synth integrations in later works without diluting their core high-energy ethos. Since 2011, Polysics has released singles such as "Piko" (2019) and "HASHIRE!" (2021), preserving their core energetic style amid anniversary activities in 2025.

Influences

Polysics' music is most prominently shaped by the American new wave band , whose robotic aesthetics, high-energy performances, and satirical edge are reflected in the Japanese group's visual style, frenetic pacing, and song structures. This influence manifests in direct homages, such as the track "each life each end" from their 2000 album , which borrows the riff from 's "Girl U Want" while playfully paraphrasing lyrics from other songs like "The Day My Baby Gave Me a Surprise." Frontman Hiroyuki Hayashi has cited 's innovative spirit as a core inspiration, emphasizing their drive to create unprecedented sounds. Other pivotal influences include German krautrock pioneers Neu!, whose motorik beats inform Polysics' propulsive rhythms, as seen in the 2000 album titled Neu as a nod to the band. Brian Eno's experimental electronics similarly impacted their synth-driven experimentation, honored through the 2001 album Eno. Japanese synth-pop trailblazers Yellow Magic Orchestra (YMO) contributed to their embrace of electronic textures and technopop elements, while P-Model's zany new wave approach added to the group's quirky, synth-heavy punk fusion within the broader Japanese technopop scene. Kraftwerk's pioneering electronic minimalism further shaped their robotic motifs and synthesizer use. Additional Western influences encompass punk and new wave acts like the , whose raw energy and simplicity underpin Polysics' fast-paced guitar work; , inspiring angular rhythms and eclectic arrangements; and , evident in their cover of "" (as "Domo Arigato ") on the 2002 mini-album Lo-Bits. These elements from the late and new wave, including and German bands, blend with Japanese technopop roots to form Polysics' distinctive sound—a high-octane mix of punk aggression and electronic whimsy that avoids outright imitation in favor of joyful reinvention.

Band members

Current members

Polysics has maintained a stable trio lineup since 2010, following the departure of longtime player Kayo, with the members handling all instrumentation, vocals, and production duties on subsequent releases and live shows. serves as the band's lead vocalist, guitarist, player, primary songwriter, and overall creative leader, having founded Polysics in as a high school project inspired by the new wave band . His Devo enthusiasm is evident in the band's robotic aesthetics and energetic performances, where he often incorporates effects and programming elements central to their technopunk sound. Since 2010, Hayashi has composed and arranged the majority of tracks on albums like Weeeeeeeeee!!! (2012), driving the band's evolution toward more streamlined, high-energy rock while preserving their signature futuristic vibe. Fumi joined as a support bassist in 1999 before becoming a full member in 2001 with the release of ENO, contributing , , and backing vocals. In the post-2010 era, she has taken on expanded roles, including lead lines and occasional co-compositions, providing the rhythmic foundation and melodic layers that underpin Polysics' fast-paced tracks, as heard in live renditions and studio works like Oh! No! It's Heavy Polysick!!! (2011). Masashi Yano joined the band on drums in 2003, bringing a precise, machine-like style influenced by Devo's . His driving rhythms have been essential to the trio's live energy since 2010, powering high-octane performances and recordings such as We Ate the Machine (2008, reissued in tours) and later efforts, where he also adds backing vocals to enhance the band's harmonious, android-like stage presence.

Former members

Polysics has seen several lineup changes over its history, with former members playing crucial roles in shaping its sound during formative periods. The band was founded in 1997 by Hiroyuki Hayashi, initially without a full ; Junichi Sugai joined in 1998. Shingo was a brief founding member on in 1997, contributing to the band's initial formation before departing early. Eisuke Sako (aka Poly-2) served as the and player from 1997 to 1999, known for his unique antics including throwing into the ; he participated in the group's early recordings and live that helped establish its high-energy style, leaving shortly after the debut album 1st P. Junichi Sugai joined as in 1998 and remained until 2003, playing a key role in early major-label releases such as Hey! Bob! My Friend! and National P. His departure came after recording the EP Kaja Kaja Goo, after which Masashi took over, maintaining the band's momentum into its peak activity phase. Kayo was the from 1998 to 2010, adding , , and backing vocals that defined Polysics' synth-punk aesthetic across albums like For Young Electric Pop and Polysics or Die!!!!!. She announced her exit in late 2009, citing personal reasons including a desire for a more ordinary life in her 30s, and performed her final show with the band at on March 14, 2010. Ryo Nakamura provided guitar and touring support from 2017 to 2020, assisting during select live engagements without becoming a full recording member. These departures influenced Polysics' evolution, notably the 2010 shift to a core trio of Hiroyuki Hayashi, Fumi, and Masashi Yano, which streamlined the band's dynamics toward a heavier rock emphasis while retaining its punk roots, as heard in subsequent releases like eee-P!!!.

Discography

Studio albums

Polysics's debut studio album, 1st P, released in 1999 on the independent label DECKREC Records, marked their indie entry into the music scene with a raw, energetic sound blending punk and synth elements. The follow-up A・D・S・R・M!, released on October 22, 1999, on DECKREC Records, built on their initial sound with additional electronic and punk tracks. Neu, issued in 2000 through Sony Music Entertainment Japan, represented their major label debut and drew notable krautrock influences, particularly from the band Neu!, evident in its motorik rhythms and repetitive structures. Eno, released in 2001, pushed the band's experimental boundaries with avant-garde arrangements and unconventional song structures inspired by figures like Brian Eno. Their 2002 breakthrough For Young Electric Pop introduced more accessible pop hooks while retaining high-energy new wave vibes, helping to widen their audience. National P (2003) coincided with a major national tour, featuring tracks that captured the band's live dynamism and escalating popularity in . The 2005 album Now Is the Time! emphasized high-tempo anthems and became one of their most commercially approachable works, blending synth-punk with catchy choruses. Karate House (2007) prepared the ground for their U.S. market expansion through re-releases, incorporating martial arts-themed energy and robust production. In 2008, We Ate the Machine leaned into synth-heavy textures, exploring futuristic and robotic motifs amid the band's signature frenetic pace. Absolute Polysics (2009) adopted a compilation-like format but consisted of original material, serving as a high-octane summary of their evolving style before lineup changes. Following a shift to a trio lineup, Oh! No! It’s Heavy Polysick!!! (2011) debuted the new configuration with heavier, more aggressive riffs and playful chaos. The anniversary album 15th P (2012) celebrated the band's milestone with retrospective nods and fresh compositions reflecting their 15-year journey. Later that year, Weeeeeeeeee!!! delivered an energetic follow-up full of exuberant, shout-along tracks that reaffirmed their high-voltage ethos. Action! (2014) signaled a return to their core synth-punk roots, packed with urgent, adrenaline-fueled songs. [Note: Spotify album link example] What’s This??? (2016) delved into themes of curiosity and innovation, with quirky lyrics and syncopated beats questioning musical norms. That’s Fantastic! (2017) offered optimistic, upbeat tracks that highlighted the band's enduring positivity and pop sensibility. In the Sync (2019) emphasized syncopated rhythms and polished electronic layers. (2025), released on January 1 via , marks their 25th anniversary with a return to high-energy synth-punk tracks.

Compilation albums

Polysics has released several compilation albums that aggregate their earlier material, often with re-recordings or additional tracks to appeal to fans and mark milestones in their career. The band's first major compilation, Polysics or Die!!!!, was issued on May 19, 2004, by Ki/oon Records. This album features a mix of popular tracks from their initial releases along with several newly recorded versions, serving as an introduction to their high-energy new wave sound for international audiences. It includes songs like "Buggie Techinica" and "New Wave Jacket," highlighting their punk-infused electronic style. Bestoisu!!!!, released on January 13, 2010, compiles hits and rare tracks from the period following drummer Yasuyuki "Yano" Inagaki's joining in 2005. As a double-disc set, it covers standout singles and album cuts up to that point, such as "" and "City," providing a retrospective of their major label era's most energetic output. The limited edition includes bonus content emphasizing their live performance ethos. In , to celebrate their 20th anniversary, Polysics released Replay! on February 22. This compilation re-records classic tracks from across their , including "Electric Surfin' Go Go" and "Tei! Tei! Tei!," alongside one new song, offering a refreshed take on their foundational material with the current lineup's production. The limited edition pairs the with a DVD of live footage spanning two decades.

Live albums

Polysics's debut live album, Live in Japan / 6-D, was released on February 25, 2000, by Deckrec Records as a double-CD set. The first disc presents raw recordings from the band's early Japanese performances, highlighting their frenetic synth-punk delivery through tracks such as "A・D・S・R・M!", "Poly-Farm", "Hot Stuff", and "Plus Chicker". These selections capture the chaotic, high-volume essence of their initial stage presence, blending new wave influences with punk aggression in a 13-track set lasting around 35 minutes. The second disc, "6-D", offers remixed versions of select songs, extending the album's exploration of their sound beyond the live context. We ate the show!!, released on October 29, 2008, by Ki/oon Records, is a live album recorded at Shin-Kiba STUDIO COAST to promote We Ate the Machine. It features 21 tracks capturing the band's high-energy performance, including "Moog is Love," "New Wave Jacket," and "Rocket," over 65 minutes, showcasing their post-2005 trio dynamics and audience engagement.

Video releases

Polysics's video releases capture the band's dynamic stage presence, frenetic instrumentation, and futuristic aesthetics, often complementing their corresponding live audio recordings. The early video release Live in Japan / 6-D (2000) presents footage from the band's initial live shows, highlighting their raw, high-octane performances during the formative years of their career. Released as a double-disc set on February 25, 2000, by Deckrec, it includes live tracks such as "A·D·S·R·M!" and "Poly-Farm," paired with remixes, offering a visual snapshot of Polysics's emerging new wave-punk sound in intimate Japanese venues. A decade later, Budokan or Die!!!! (2010) documents the band's landmark concert at on March 14, 2010, celebrating their 10th anniversary and marking vocalist Kayo's final performance with the group after 12 years. Issued on July 7, 2010, in both DVD (KSBL-5940/1) and Blu-ray (KSXL-9) formats by Ki/oon Music, the production features a full 31-track setlist on the main disc—including staples like "Tune Up!" and ""—along with 11 bonus tracks and a documentary on their tour, emphasizing the explosive visuals of , synchronized movements, and audience engagement in the iconic setting. This release supplements the audio version of the show, providing deeper insight into the performance's theatrical elements.

Singles

Polysics has released more than 20 standalone singles since their formation, primarily through independent and major labels like Deckrec and Ki/oon Records, often tying into album promotions or media tie-ins such as themes. These releases highlight the band's high-energy synth-punk sound and have achieved varying degrees of chart success, particularly on Japan's charts, with select entries gaining international exposure in the UK. While most singles did not reach the top tiers of charts, they contributed to building the band's in the J-rock scene. Key singles include:
TitleRelease DateLabelNotes
Plus ChickerApril 25, 1999Deckrec RecordsDebut single, initially released as a 7" vinyl EP; later reissued on CD. Promoted early independent phase.
New Wave JacketApril 25, 2001Ki/oon RecordsLead single from the album Neu; UK picture disc edition in 2004; peaked at #162 on the UK Singles Chart.
Electric Surfin' Go GoAugust 23, 2006Ki/oon RecordsTitle track single with DVD edition featuring music video; promoted the international album Polysics or Die!!!!!.
RocketNovember 21, 2007Ki/oon RecordsMaxi-single; served as the ending theme for the anime series Moyashimon; limited chart impact but boosted media visibility.
Part of MeApril 3, 2019Sony MusicDigital single with variants like "Part of Me / Frame On"; part of a series of 2019 digital releases marking the band's return after hiatus.
Other notable singles, such as "Baby BIAS" (2005, peaked at #109 on ) and "Lucky Star" (2008, peaked at #46 on ), further exemplify their consistent output in the mid-2000s, often blending original tracks with remixes or covers to appeal to both domestic and overseas audiences.

EPs

Polysics released a number of extended plays that highlighted their signature blend of new wave, synth punk, and high-energy rock, often serving as platforms for B-sides, experimental material, or revitalized tracks. These EPs typically featured five songs each, providing concise bursts of the band's frenetic style. Lo-Bits, released on April 24, 2002, by Ki/oon Records, is a B-sides collection that compiles previously unreleased or alternate material from the band's early period. The EP includes the tracks "Domo Arigato Mr. Roboto" (4:41), "Bugtte Ro Bo-" (3:42), "Head O'clock" (2:11), "My Way" (3:15), and "Code4" (4:10), emphasizing the group's and new wave influences in a compact format. In 2003, Polysics issued Kaja Kaja Goo on May 21, a mini-album characterized by its experimental tracks that span diverse styles, from hyper new wave pop to thrashy punk and synth-heavy compositions. Released by Ki/oon Records, it features "Kaja Kaja Goo," "Genki Rock A-B-C!," "Techno Dracula," "Rick O・K! sec.," and "スリーオースリーオーマーン~Miss. ドーナツ," with the title track nodding to the 1980s Kajagoogoo through its playful wordplay. The EP's stylistic variety underscores Polysics' innovative approach to genre-blending. eee-P!!!, released on December 8, 2010, by Ki/oon Records, marked the trio era with five energetic tracks including "How Are You?", "Mach Kanjin", "Rock Wave Don't Stop", "Boil", and "Odore Heaven", blending punk-electro elements in a limited edition with documentary footage. Mega Over Drive, Polysics' 2013 EP released on October 9 by Ki/oon Records, delivers high-energy performances with furious rhythms and punk-infused drive, marking a return to the band's aggressive roots after a brief hiatus. The five-track release comprises "Mega Over Drive" (3:27), "Exclamation!" (3:53), "Marshmallow Head" (2:28), "I My Me Mine 2013" (3:23), and "Baby Bias 2013" (3:00), including updated versions of earlier songs to refresh their catalog. This EP exemplifies Polysics' enduring commitment to dynamic, adrenaline-fueled music.

Soundtracks

Polysics has made notable contributions to soundtracks for series and video games, often featuring their high-energy, synth-punk tracks to enhance dynamic openings and endings. These appearances highlight the band's ability to blend punk influences with electronic elements in contexts. In , "" was used as the ending theme for the 2007 series Moyashimon, providing an upbeat close to episodes centered on microbiology and university life. The track, originally from their 2006 album !, fits the series' quirky educational tone. "You-You-You" served as the fifth opening theme for Keroro Gunsou (also known as ), airing from episodes 130 to 154 starting in 2006. This single, released the same year, captures the show's comedic invasion narrative with its fast-paced, repetitive chorus. More recently, Polysics collaborated with Seiya Yamasaki of Kyuso Nekokami on "Hashire!" (Run!), the opening theme for the 2021 anime . The song's driving rhythm complements the series' high-stakes depiction of cellular battles in a stressed . In video games, "Tei! Tei! Tei!" was included on the soundtrack for , the 2006 edition of ' soccer simulation series. This track from their 2005 album Polysics or Die! added an eclectic flair to the game's global playlist of 32 songs.

Legacy

Critical reception

Critics have generally acclaimed Polysics for their high-energy performances and stylistic homage to , often describing their sound as a frenetic fusion of synthpunk and new wave that channels the American band's quirky, robotic intensity. For instance, a review of their 2001 album Hey! Bob! My Friend! noted tracks like "Hot Stuff" and "Married to a Frenchman" as paying "the most loving tribute" to Devo's brash early era, blending it with the band's own explosive rhythms. However, some reviews pointed to mixed reactions regarding later works, critiquing a perceived repetitiveness that could lead to monotony despite the consistent energy. A Rocknworld.com assessment of Now Is the Time! (2005) observed that the album's pacing "suffers from repetition and monotony to the point of headaches," attributing this to the band's unvarying formula of quirky electronic elements and rapid tempos. Electric Bloom Webzine echoed this in its coverage of ACTION!!! (2013), noting that heavily repetitive sections in tracks like "Don't Stop Johnny" could become "almost headache-inducing" amid the chaotic patterns. Internationally, Polysics garnered positive attention for their live shows in the U.S. and , where critics lauded the band's ability to translate their recorded frenzy into captivating, high-energy spectacles. A LeftLion review of a , , performance described the set as "so damn unexpectedly good," with the crowd quickly succumbing to contagious amusement and enraptured grins during the blistering pace. In the U.S., Ink 19's coverage of a event highlighted their "onslaught of beats" and Devo-inspired surges as delivering a thrilling, unique live experience that outshone mere imitation. In 2025, Polysics released the album to mark ongoing activity, available via , though critical reception remains emerging as of November 2025.

Cultural impact

Polysics has exerted a notable influence on international artists within niche electronic and new wave scenes, particularly through their Devo-inspired sound. Musician , performing under the moniker , has cited the band as a direct inspiration for elements of his 2006 album . In the album's text commentary, Cicierega describes one track's sound as "somewhat inspired by Japanese band Polysics, and the band that inspired them, ," highlighting their shared energetic, synth-driven aesthetic as a bridge between American new wave and Japanese technopop. The band played a key role in the revival of technopop within Japan's landscape during the late 1990s and early 2000s, drawing on influences from 1970s and 1980s acts like and The Plastics to reinvigorate the genre with punk energy and electronic experimentation. Formed in 1997 amid a surge of interest in retro-futuristic sounds, Polysics helped pioneer a wave of bands incorporating synthesizer-heavy arrangements and high-octane performances, contributing to the broader electronic infusion in post-2000. Polysics cultivated a dedicated fanbase attracted to their incorporation of video game-inspired sound effects, futuristic visuals, and playful, high-energy antics. As a cult favorite in both and abroad, Polysics maintained enduring underground appeal without achieving major mainstream breakthrough, sustaining a loyal following through consistent touring and releases that emphasized innovation over commercial accessibility. Their impact endures in the ongoing electronic wave of J-rock, influencing subsequent acts to blend punk aggression with digital elements in non-mainstream contexts.

References

  1. https://www.generasia.com/wiki/POLYSICS
  2. https://www.allmusic.com/artist/polysics-mn0000349954
  3. https://www.discogs.com/artist/261089-Polysics
  4. http://www.polysics.com/
  5. https://music.apple.com/us/artist/polysics/582038536
  6. https://jpop.fandom.com/wiki/POLYSICS
  7. https://www.discogs.com/release/2779812-Polysics-1st-P
  8. https://thequietus.com/quietus-reviews/polysics-weeeeeeeeee-review/
  9. https://international.ucla.edu/institute/article/11220
  10. https://www.discogs.com/release/7213332-Polysics-1st-P-ADSRM
  11. https://www.discogs.com/release/26371424-Polysics-Neu
  12. http://www.polysics.com/disc
  13. https://www.theaquarian.com/2010/02/11/interview-with-polysics-each-era-each-end/
  14. https://sundial.csun.edu/20741/news/technicolor-pogo-punk-hits-america/
  15. https://www.discogs.com/release/4323344-Polysics-Rocket
  16. https://www.animenewsnetwork.com/news/2009-12-28/polysics-vocalist-kayo-to-leave-band-in-2010
  17. https://dyingscene.com/archive/polysics-set-a-date-for-kayos-departure/
  18. http://www.polysics.com/disc/
  19. http://www.polysics.com/info?p=35
  20. https://polysicste.bandcamp.com/album/rocket
  21. https://www.bandsintown.com/e/1036144930
  22. https://www.instagram.com/p/DQ3wH3jkkPP/
  23. https://pitchfork.com/reviews/albums/6396-neu/
  24. https://www.popmatters.com/polysics_now_is_the_time-2495675417.html
  25. https://www.sputnikmusic.com/review/8661/Polysics-Now-Is-The-Time%2521/
  26. https://www.jango.com/music/Polysics/_full_bio
  27. https://music.youtube.com/channel/UC7sjUVI99P8W-tpasCPrdcw
  28. https://alarm-magazine.com/2008/qa-polysics-chats-about-its-frenetic-new-wave-sound-and-japanese-punk/
  29. https://venushikariclub.blogspot.com/2011/10/polysics.html
  30. https://popshifter.com/2010-03-30/title-qa-with-hiro-hayashi-of-polysics/
  31. http://www.rocknworld.com/features/06/Polysics.shtml
  32. https://thedivareview.com/Polysics_Exclusive_Interview.htm
  33. https://www.discogs.com/release/30732374-Polysics-Lo-Bits
  34. https://globalcomment.com/polysics-want-to-take-you-to-a-crazy-happy-space/
  35. https://en.namu.wiki/w/POLYSICS
  36. https://www.discogs.com/master/597111-Polysics-Weeeeeeeeee
  37. https://polysicste.bandcamp.com/album/oh-no-its-heavy-polysick
  38. https://www.discogs.com/master/2241274-Polysics-A-D-S-R-M-
  39. https://www.discogs.com/release/409214-Polysics-Neu
  40. https://www.discogs.com/release/1745796-Polysics-Eno
  41. https://www.discogs.com/master/1039425-Polysics-Oh-No-Its-Heavy-Polysick
  42. https://jpurecords.com/collections/polysics
  43. https://www.discogs.com/release/6211176-Polysics-Bestoisu
  44. https://www.discogs.com/release/11755785-Polysics-Replay
  45. https://www.discogs.com/release/8216103-Polysics-Live-In-Japan6-D
  46. https://www.discogs.com/release/8216146-Polysics-We-Ate-The-Show
  47. http://www.polysics.com/info/disc/single/?p=11
  48. https://www.generasia.com/wiki/Budokan_Or_Die!!!!
  49. https://www.cdjapan.co.jp/product/KSBL-5940
  50. https://www.discogs.com/release/26010625-Polysics-Budokan-Or-Die-2010314
  51. https://www.discogs.com/master/821582-Polysics-Plus-Chicker-EP
  52. https://www.discogs.com/release/2714393-Polysics-New-Wave-Jacket
  53. https://www.officialcharts.com/artist/10765/polysics/
  54. https://www.discogs.com/master/648347-Polysics-Electric-Surfin-Go-Go
  55. https://www.cdjapan.co.jp/product/KSCL-1183
  56. https://www.generasia.com/wiki/Baby_Bias
  57. https://www.generasia.com/wiki/Lucky_Star_%28POLYSICS%29
  58. https://www.discogs.com/release/2744359-Polysics-Lo-Bits
  59. http://www.16bit.com/cd-polysics-kajakajagoo.asp
  60. https://www.discogs.com/release/1745783-Polysics-カジャカジャグー
  61. https://www.discogs.com/master/1741848-Polysics-eee-P
  62. https://electricbloomwebzine.com/2014/02/polysics-action-review.html
  63. https://www.discogs.com/release/5014547-Polysics-Mega-Over-Drive
  64. https://www.animenewsnetwork.com/encyclopedia/anime.php?id=8064
  65. https://vgmdb.net/album/33074
  66. https://www.animelyrics.com/anime/kerorogunsou/youyouyou.htm
  67. https://vgmdb.net/album/32365
  68. https://vgmdb.net/product/8678
  69. https://cellsatwork.fandom.com/wiki/Hashire%21
  70. https://genius.com/albums/Ea-sports/Fifa-07-soundtrack
  71. https://vgost.fandom.com/wiki/FIFA_07
  72. https://pitchfork.com/reviews/albums/6397-hey-bob-my-friend/
  73. https://leftlion.co.uk/legacy-content/polysics-review-251/
  74. https://ink19.com/2010/03/magazine/event-reviews/cdg2cu-polysics
  75. https://genius.com/Lemon-demon-dinosaurchestra-commentary-transcription-annotated
  76. https://thequietus.com/culture/books/quit-your-band-japanese-underground-music-interview-ian-f-martin/
  77. https://www.youtube.com/watch?v=hlASM73ZrFc
Add your contribution
Related Hubs
User Avatar
No comments yet.