NOCTURNAL FEAR
Code of Violence
(Moribund)

JAVELINA
S/T
(Translation Loss)

MERCILESS DEATH
Realm of Terror
(Heavy Artillery)

PHARMACOPOEIA
Volume 1
(Land o'Smiles)

THE SEVEN MILE
JOURNEY
The Metamorphorsis Project
(Fono'gram)

INSTANT ASSHOLE
Straight Edge Future

(Tankcrimes)

SUTCLIFFE JUGEND
Pigdaddy 

(Cold Spring)

MORE REVIEWS

Every time I listen to Japanese bands I realize that that country has the potential to purge bands with the same commercial ease of Sweden. The underground music produced in there is not only absolutely outstanding, but when you hear bands as diverse as Shonen Knife, Zoobombs, Marble Sheep and now Watusi Zombie you realize that there is a unique vision brewing there.  A unique vision that for the most part is a derivative of the American and European influences but that they have managed to make their own nevertheless. 

It’s important to recognize that in Japan there seems to be a thriving scene for every underground genre and sub genre. No matter how obscure the style, you will find a Japanese band playing it, and playing it well.  Regardless, this is no easy music. And sure it has very little mass commercial appeal, but there is something truly unique, truly open and free here. Something fun that screams with an anarchic voice about the spirit of the individual. That is for fucking sure. Even when I get a promo package all photocopied in Japanese with no translation. I am still sure of all that.

Watusi Zombie is an Osaka trio that started activities in 1997. That much I could tell. I also know that they are part of the west Japanese music movement ‘Kansai Zero Generation’. But I couldn’t tell you any specifics about that. Watusi Zombie sing in Japanese but that doesn’t matter. The music speaks for itself. And it speaks bundles. Two guitars, drums and vocals. No bass. Watusi Zombie, like a few others I know, prove that you don’t need much to rock but the spirit. This is garage rock of the highest caliber. Energetic, bold, playful, catchy and quite impressive. Buddha Mask Revolution explodes in multicolor from the second it starts off. There are several bluesy licks floating around, especially in the fourth song, and then in the sixth. I couldn’t even tell you what the songs are called.

What is also surprising is how full Watusi Zombie sounds with such stripped down production. The fuzz factor is also quite present. And the way both guitarists play off each other is admirable; the sixth song is a prime example of selfless collaboration; two dissimilar riffs speeding off at the same velocity, racing drums, and degenerate raw screams. The experimental element is also here, but mostly because Watusi Zombie sound so loose and pure. Like from a parallel dimension when progressive rock did not exist.

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