Fushitsusha - Live (1989)

Jeden z kluczowych zespołów japońskiego psychodelicznego undergroundu, reaktywowany po dekadzie przebywania w uśpieniu. Brzmienie Fushitsusha ukształtowało się pod wpływem krautrocka i brytyjskiej sceny psychodelicznego rocka, jednak samo w sobie jest niepowtarzalne: potężne, jednocześnie hałaśliwe i medytacyjne. Charyzmatyczny lider zespołu, Keiji Haino, to jeden z ojców japońskiego rocka, duchowy uczeń Antonina Artauda i Jima Morrisona. Współpracował z Johnem Zornem, Billem Laswellem, grupą Faust i innymi wielkimi postaciami jazzu, rocka i muzyki eksperymentalnej. (unsound)

Lost Aaraaff's Lost Aaraaff (1971) was devoted to three improvised acid jams. Their young guitarist, Keiji Haino penned the eastern mass Ama No Gawa - Milky Way (1973). Then, inspired by free-jazz master Takayanagi Masayuki, Haino formed Fushitsusha in 1978 to play improvised psychedelic jams. Their beginnings are documented on 1978 (PSF, 2003), which collects two 1978 live tracks. Starting with Live I (1989), 100 minutes of noise that ranked among the masterpieces of the psychedelic jam of all times, a bacchanal that vomited debris of Blue Cheer, MC5, Iron Butterfly, free-jazz, Grateful Dead and Jimi Hendrix, this prolific trio (originally a quartet) released monumental and dissolute works that seemed to know no limits. Fushitsusha (1991) and Hisou - Pathetique (1994) were among the follow-ups, but later releases such as The Wisdom Prepared (1998) and I Saw It (2000) were equally torrential. In the meantime, Haino was also busy with Nijiumu and Vajra. His solo albums included the galactic suites Affection (1992) and Execration (1993), and his boldest experiment, I Said This Is The Son Of Nihilism (1995). As the influences of LaMonte Young and Brian Eno increased, Haino arrived at Abandon All Words At A Stroke So That Prayer Can Come Spilling Out (2001), which contains a hypnotic piece for hurdy-gurdy and treated voice, and an industrial collage of metallic noises, distortions and ghostly vocals. (scaruffi)