Zeuhl 5

The modern underground music scene in Japan is arguably the most interesting and diverse on the planet. Though Japanese pop has generally been an exercise in Western idolatry, the musicians in the underground tend to favor their art above all other concerns. Ironically, the diversity and seemingly endless collection of strange music coming from this scene is contrary to its spirit: that of community and collaboration. Even between various genres, say punk and progressive, underground musicians have been known to stray.

The modern progressive rock scene in Japan could be grouped in two camps. The traditional symphonic sound, influenced by classic 70s groups such as Yes, ELP, and Genesis, maintains the greatest popularity. Japanese bands like Kenso, Ars Nova, Ain Soph, and Bi Kyo Ran appeal mainly to fans of those classic prog bands. The music is still underground, in the sense that the acts rarely achieve a Top 40 type of success, but is based on an established genre.

The other camp of prog musicians rests nearer the avant-garde. This group of artists takes the influence of the classic prog bands, but filter it through a modern experimentalist screen. Outsiders like Captain Beefheart and Keiichi Haino shape their sound as much as Yes or Genesis. This does not mean that the musicians in the avant-prog circle have no communication with those in more orthodox circles, and perhaps that is the most unique aspect of the Japanese underground.

By far Yoshida's most well known project, Ruins produce a unique fusion of punk and progressive rock. Ironically, its leader has stated that while he admires punk's energy, he has no desire to play pure punk, and in fact grew up on a steady diet of prog bands such as Genesis, ELP, and Gentle Giant. However, his true inspiration came from France's Magma. Magma's trademark odd-metered motives, faux operatic signing, and especially Christian Vander's extroverted drumming have certainly made their way into Yoshida's consciousness, although the jazzy undertones and relatively atmospheric group sound did not.

From an early point, Ruins appealed more to an avant-garde listener than the more traditional 'progger' (a claim that may apply to many of the artists profiled here). On their first recordings, they teamed up with NYC experimental sax-icon John Zorn, and eventually put out albums on his Tzadik label. Their sound was dense mix of industrial noise, prog theatrics, and free-improv. Some critics have used the term 'jazzcore', but there really is no describing the duo's sound.

Yoshida has stuck with his bass-n-drums formula throughout the group's history (except for the one-off Symphonica, with Kenso's keyboardist and two singers), but has switched bassists when needed. The bass in Ruins performs double duty, covering every end of the sonic spectrum, melody, bottom, white noise, etc. Currently, Hisashi Sisaki holds the position, though true blue fans may prefer previous anchorman Ryuichi Masuda.

Yoshida performs with a vast number of other projects. His Koenjihyakkei is more of a traditional prog band, with added guitar, keys, and a female singer. Magaibutsu, Yoshida's website, calls the band a 'Japanese Magma.' High Rise and Mainliner not only share the hard psyche-prog style, but the same members! Korekyojin is a collaboration with Bondage Fruit guitarist Kido Natsuki and Ground Zero/Altered States bassist Nansuno Mitsuro. Other projects include Akaten, Tairikuotoko Vs Sanmyakuonna, Seikazoku, Musica Transonic, Sunkich, and Zubi Zuva. These are not to mention his solo performances - true one-man shows, wherein he drums, sings, plays keyboard, and guitar simultaneously!

Happy Family formed in the late 80s while still in college (an aspect of the Japanese music scene that is significantly different from America's). Founding members Kenichi Morimoto (keyboards), Shigero Makino (guitar) and Tatsuya Miyano (bass) were joined by drummer Keiichi Nagase in 1990. They had released two cassettes by 1994, and finally found worldwide exposure with their 1995 Cuneiform Records self-titled debut CD.

Happy Family takes the hard-edged sound of "De Futura"-era Magma, and adds a healthy dose of aggressive fusion to the mix. At times, similar to Ruins, there is a punkish edge to the music, but whereas Ruins may revel in chaotic group improvisation, Happy Family's roots lie closer to traditionally structured instrumental prog/fusion a la Mahavishnu Orchestra and Red-period King Crimson. The overall sound can be very exciting.

The band released Toscco in 1997 with a new guitarist. Sadly, all reports seem to confirm that they are not active now. Since Happy Family's last live performance (October 18, 1998), Morimoto has been away from any musical activity to study law. Nagase has been very busy as a pop session musician, Miyano has been pushing himself as an actor, and their second guitarist has concentrated on his solo project. Officially, the band has not disbanded, yet it is doubtful they will tour again. Between the recording of Toscco and their last gig, they did play much new material on stage, though it looks like it may not see the light of day.

Guitarist Kido Natsuki, violinist Katsui Yuji, and bassist Hirohiko Otsubo formed Bondage Fruit in 1990. Over the next few years, the personnel of Bondage Fruit changed frequently. However, in 1993, they added additional musicians: Takara Kumiko (Vibraphone), Yoichi Okabe (Percussion), Aki Kubota (vocalist, later of Koenjihyakkei) and Saga Yuki (jazz vocalist). Finally, the band's line-up was settled as a seven-piece band.

The band's sound retained the adventurous flavor of Kohntarkosz-era zeuhl, while adding elements of alternative rock, RIO, and even South American music. Although led by guitarist Natsuki, perhaps the primary feature of their early sound was that of the female vocals. Often, the "lyrics" consisted of no actual words, but percussive syllables doubled on marimba or guitar. Aki's operatic style is of note on the first album, and Yuki's more experimental style on the second (Aki had left by that point).

When Yuki left after the second album, the band was left without a vocalist. Without missing a stride, they released Bondage Fruit III: Recit, showing more of their improvisational and avant-fusion sides. The band have often been lumped in with other acts like Happy Family and Ruins, but ultimately, Bondage Fruit may be simultaneously more accessible and yet more willing to embrace various music styles than either. Their latest record features an even greater synthesis of influences than before, ranging from Afro-Cuban music to techno!

Ground Zero, featuring guitarist/turntablist Otomo Yoshide, was one of the most well known groups in underground Japan. Yoshide was an admitted 'non-musician', though one would be hard-pressed to find a more inventive rock outfit. Ground Zero specialized in an eclectic blend of the avant-garde, popular, and the surreal. They cannot be classified as 'progressive' in the same sense as Happy Family or Bondage Fruit, in that they do not often feature dramatic time-signature shifts, or flashy solos (although it certainly isn't for lack of ability). Instead, the band takes elements such as found/sampled sound, noise, and improvisation to create a hybrid. Much of what they play is entirely non-reproducible, a fact that puts them well outside the domain of most progressive acts. Yoshide has performed with most of the musicians in this article, as well as a great number of American experimental musicians.

Nasuno Mitsuru (bass, vocals) and Yoshigaki Yasuhiro (drums), both of Ground Zero, later formed Altered States. This band displays more of the progressive influence than the former group, though no less adventurous for the change. Their sound is something of a mix of King Crimson, Boredoms, and alternative rock, occasionally with a dash of the psychedelic.

Hoppy Kamiyama has not only made a name for himself as a musician (Pugs, Optical*8) and producer (television and commercial music), but has also acted as label owner. His God Mountain issued recordings by Koenjihyakkei, Altered States and Jyoji Sawada. Kamiyama is a highly charismatic performer (known for his cross-dressing almost as much as for his music), and his projects are usually rather unique. Pugs have no loyalty to a particular genre, able to play anything from Crimson-style prog to New Wave to Korn-style alt-rock. Optical*8 (with Otomo Yoshide) specialize in an aggressive psychedelic music, with much improvisation and long jamming.

The most telling characteristic of the Japanese underground may be the 'live-house' system. Typically, unproven artists will actually pay club owners to play until their shows generate a profit. Obviously different than the American scene, this ensures two things: firstly, only the strong survive. Bands that end up in the red will most likely lose their chance to be heard, while those that attract a following can be boosted into international limelight. One of the most popular bands on the live-house circuit today is Melt Banana, an experimental punk outfit. Their local success has led to fairly wide exposure, on tour with Mr. Bungle, and even a release on John Zorn's Tzadik label. Secondly, acts are generally 'finely tuned' before they hit the stage. A great example is Motor Humming, an avant-prog group influenced by Ruins and Boredoms. Before succeeding in front of an audience and having their debut released by Tzadik, the band had rehearsed and recorded a demo. Ultimately, the music has overcome seemingly impossible odds to find an audience, most likely due as much to persistence and discipline as to talent.