13. Oktober 2012 / Samstag / 19 h!
Stadtgarten, Köln
Einlass: 18:30 h
Eintritt 15,- Euro
Reservierungen: zipo (at) aufabwegen (dot) com
FUSHITSUSHA (JAP)
Keiji Haino – Guitar/Vocals
Futoshi Kamekawa – Bass
Ryosuke Kiyasu – Drums
Keiji Hainos 1978 gegründete Noise-Rock-Band erstmals und exklusiv in Deutschland!
Erstmals seit der Gründung bringt Keiji Haino seine Noise-Rock-Ur-Blues-Gruppe FUSHITSUSHA nach Deutschland. Im letzten Jahr von Haino reaktiviert, existiert die Gruppe nun schon (in wechselnden Besetzungen) seit 1978. Im Sound von Fushitsusha kulminieren Psychedelic, fuzzy
Noiserock, expressive Improvisation und Noise, das Projekt gilt immer schon als sagenumwoben und schamanistisch in der Liveperformance. Mit den Aktivitäten rund um Hainos 60. Geburtstag in diesem Jahr, spielen Fushitsusha auf einigen ausgewählten Festivals in Europa und den einzigen echten Clubgig bei uns in Köln!
Keiji 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 P.S.F. 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. 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.
Foto: Kazuyuki Funaki