fushitsusha digress - 不失者からブラブラやるけど、不失者

I became convinced that fushitsusha were/are the best band ever when I contemplated aircraft carriers. Perhaps it was because a friend, an older boy, when I was much younger, won in a competition (somehow, it seems impossible but I played with the thing) the G.I.JOE aircraft carrier toy vast platform where all the things you can dream of occur

-- and I always thought fushitsusha would be a good band to entertain the "armed forces" on an aircraft carrier, because they need entertaining long long time (the armed forces), and the band (fushitsusha) had been able to play 7 hrs and more, out in the ocean I suppose, throughout the night, with no restriction on volume.

But I suppose the music is so often disliked they would not go down well on an aircraft carrier or some similar entertainment venue for "the forces"

Often I have hoped to convince friends to appreciate the music of fushitsusha and haino keiji in general. It's very hard. I think I only started to figure out fushitsusha, how their performances cohere for example, after around 10 years of listening. There is no ideal introduction, perhaps the first double live of fushitsusha is pleasant to listen to for most people who have already heard certain musics - yet by the next fushitsusha, also a live double thing, everything has been extended so far it almost contradicts the previous format (if you don't quite know what to listen for) - and with the next, a first studio recorded album titled "pathetique" (and, no-one mentioned this, and I only knew when putting the cd in computer and seeing a track title, the only one, for the first track ((everything else, there are only four tracks anyway, are 2,3,4)) "Symphony no.6 in B minor, Op.74 'Pathetique'"



Looking at the wikipedia (what else) entry: Symphony No. 6 in B minor, Op. 74, Pathétique, by Tchaikovsky it is almost clearly evident that the fushitsusha track is a "cover" only of the "cross motif", perhaps that is the spine of the symphony, I won't know these things unless I sit down and listen carefully many times to all the recordings and I am moving, very soon now, and was packing, and I found (in a moment of horror that paralysed me but for a laugh (maybe one laugh) and a swear word I don't now recall but probably it was mundane)
that cockroaches can fly.

As to how fushitsusha progressed, it is like trying to pinpoint the middle of endless-ness, but here is a good compact "anthology" of what they did. This is them opening for John Zorn when he came to Japan, maybe as Naked City or whatever it is called, I don't have much knowledge about John Zorn. Fushitsusha had to perform a compact performance, and in this clip, part 4 of 7, you can witness:

1/ artaudian scream solo vocal structures, though better performed because haino keiji is not nor is dying of cancer
2/ the psychedelic loose but tight guitar and very pristine martial drum backing (was at first always surprised how restrained the bass and drums are but now I understand)
3/ at 4:12 a sudden emerged song, I guess it may be "omae/ you" but it would be hard to confirm this
4/ the coalesce-by-confront method between bass and guitar (prelude to the final in part 7)
5/ more of 1/ this time with bass and drum structuring at all edges
6/ bass and drum interaction with lovely harmonics, like geometries formed to (probably) be smeared after (in part 5 I suppose)