Asian Invasion
Japanese new wave/punk/progressive-influenced quartet seeks American fans for serious rocking and rolling. Apply within.
By Erik Fong

First, picture Devo.

Now picture Devo turning Japanese.

Now throw in elements of progressive rock, techno, pop and new wave. Congratulations; you’re now officially hip to Polysics (pronounced “polly-six”).

A la the suit-wearing Hives or the occasionally sock-cocked Chili Peppers, all of the members of Polysics dress in radioactive suits and goggles (for that “Godzilla is coming – and he’s got plutonium!” look). Synthesizers, distorted guitars, vocoders and computer programming all find their way into the music of Polysics, creating a futuristic sound of blips and whirrs over punk-ish guitar riffs and that jumpy, so-happy-it’s-adorable J-pop beat.

Polysics’ gradual infiltration on America began with its contributions to all three volumes of Japan for Sale, a compilation of Japanese artists. Since then, Polysics has re-released Hey! Bob! My Friend in the States through Asian Man Records and built a small following through word of mouth. Slowly but surely creeping its way into the American rock scene via showcases and domestic album re-releases, Polysics gets the dancers dancing, the rockers rocking and the new wavers new-waving – even without the “creative input” of a team of gray-haired major label music executives with over 50 years of rock star jock-sniffing on their resume! Yes, it’s true; untouched, unmanipulated, unchanged.


Baby steps

The group took its first steps on United States soil in 1998, making its American debut in the hotbed of Japanese music: uh… Texas. Thankfully, the shitkickers didn’t scare Polysics too much, as the band recently came back to America to perform a handful of shows, including the Japan for Sale, Volume 3 CD release party at the Bottom of the Hill in late May. Guitarist, vocalist and primary songwriter Hayashi spoke to us (with the assistance of a translator) with an enthusiastic gleam in his voice – the members are locked and loaded, ready to make their mark on the American rock scene.

Perfect Pitch Online: Where are you?
Hayashi: I’m sitting on a bed in a hotel in Los Angeles. Right now, this big American landscape is really inspiring me. I’m very excited.

PP: Your first American performance was at the South by Southwest conference in Austin, Texas in 1998. How was that experience?
Hayashi: Playing South by Southwest was different because it was a showcase of Japanese artists, so it didn’t really feel like I played in America. But this time, we came alone, and I felt like I was doing a rock concert and playing to music lovers.

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Even during the most stagnant time period in the history of mainstream music, as we’re plagued with a record number of talent-less “artists,” there’s still nothing greater than success in the American entertainment industry (except for maybe gas that's under $1.50 a gallon). And despite what recent television programming has been trying to teach us, it is still possible to make it in the music business without resorting to singing run-of-the-mill pop standards in front of the lowest common denominator of “music fans” every week on Fox.

If Polysics starred in its own reality program and “reality television” bore any resemblance to the first half of its namesake (competing for a handout is “reality” only for the brainless and the beautiful), you’d see four high school friends without inhibition, uniting to create music that’s catchy, danceable, high-tech and fucked up all in one shot. Now in their mid-twenties, the members of Polysics signed to Sony Japan after releasing numerous albums, 7”s and EPs on various Japanese labels. And with the exception of bass player Fumi departing the group for a short period of time (the remaining three chose to leave Fumi’s spot vacant when he left), the line-up has stayed intact. Which probably doesn’t make for very interesting reality television – but hey, if we throw in a bikini-clad gorilla, a pack of frozen hot dogs, a taser and a dozen Venice Beach musclemen for a ratings boost, we might have something!


Overachievers

Like so many talented innovators who become influential in hindsight years later – Devo, Faith No More, Killing Joke and eventually Perfect Pitch Online (maybe?) – Polysics just may be too ahead of its time. In an era of shorter attention spans, lower measuring sticks and Bubble Boy, there may not be any room for good-hearted non-whores when the public is hypnotized by sk8r bois and “dirrtiness.”

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Perfect Pitch Online: What’s the perception of manufactured pop stars like Avril Lavigne and Christina Aguilera in Japan?
Hayashi: In Japan, it’s been accepted, as is J-pop music. But I haven’t listened to them.

PP: Lucky you. What’s missing in music today?
Hayashi: Most artists don’t really think about why they’re playing rock music, and that’s what I think is missing. In the days of Deep Purple and Led Zeppelin, I think those bands and the bands of that time were thinking about making new types of music – they wanted to be revolutionary. They wanted to be the ones to make the new scene. There was always that spirit. But right now, nobody’s thinking about that.

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Indeed, a prime reason for music’s deterioration is due to constant re-hashing in an effort to stay on the safe side. And while genres like pop punk go in endless circles and everyone rips each other off only to create the same mindless music, Hayashi and Polysics are trying to build the next step in music. True, Polysics bears a close resemblance to Devo, but only in philosophy. Technological exploration and a unique appearance formed the band’s foundation, but the spirit of progression and innovation takes the band to a new level.

And of course, throw in additional musical spirit from just a handful of their other influences (think Talking Heads meet Kraftwerk meets King Crimson in Budokan), and voila! Your musical world as you know it is mutated, turned upside down and fucked.


Loud Americans

The international community knows (and despises) Americans for their outspokenness. But that’s why Polysics loves this country and performing for its American fans.

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Perfect Pitch Online: Compare and contrast the average Japanese music fan to the average American music fan.
Hayashi: The way that American and Japanese fans react to the music itself is different. It’s not about language, but American audiences have more straight-forward feelings towards the music they hear. That’s the major difference in between. And that’s why I really enjoy playing to American audiences.

PP: What other outfits did you experiment with before you decided on the radioactive suits and goggles?
Hayashi: We wore jumpsuits. This was long time ago when I was in high school. I would buy a white shirt and then put red and yellow tape on sideways, or maybe wear a striped shirt with a backpack, and from the backpack there were a lot of cords coming out.

PP: Beautiful. What’s one of your least favorite touring memories?
Hayashi: A long time ago, I was so nervous that I tried to calm myself down and also bring myself up that I drank so much beer, but by the time I went onstage I had to throw up. [laughs]

PP: Oops. Did it land on any of your equipment?
Hayashi: No, behind the amplifier. [laughs]

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Next time you’re at the record store, remember, you have a choice: You can either challenge yourself with creative innovators plotting a new trail like Polysics, or dumb yourself down with shit-rock like Staind. Make your choice. Come on, how can you say no to a guitarist who wants to impress you so badly that he vomits?

Polysics will re-release its Japanese album Neu through Asian Man Records in America on July 29, and will tour the States again in September. If you can read Japanese or want to play a joke on your friends while they’re on acid, visit the band’s official web site: www.polysics.com.

Purchase Japan For Sale, Vol. 3 through Amazon.com.