Fushitsusha
| Fushitsusha | |
|---|---|
| Origin | Tokyo, Japan |
| Genres |
Psychedelic rock Space rock Experimental rock Japanoise |
| Years active | 1978–2001, 2012-present |
| Labels |
P.S.F. Avant Tokuma Purple Trap Blast First |
| Associated acts | Keiji Haino |
| Members |
Keiji Haino (guitar, vocals) Ryosuke Kiyasu (drums) |
| Past members | Chiyo Kamekawa (bass) Tamio Shiraishi (synthesizer) Jun Hamano (bass) Shuhei Takashima (drums) Maki Miura (guitar) Yasushi Ozawa (bass) Jun Kosugi (drums) Mitsuru Nasuno (bass) Ikuro Takahashi (drums) |
Fushitsusha (不失者) is a Japanese rock band specialising in the experimental and psychedelic rock genres. The band consists of electric guitarist and singer Keiji Haino, and a shifting cast of complementary musicians. The group released the majority of its material in the 1990s.
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.
In August 2015, bassist Chiyo Kamekawa was dismissed because he plays in another band MANNERS.
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.
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