“They’re kind of a female, Japanese version of Battles” was the description given to me. Entering the large factory floor space, I was immediately struck with a repetitive strain of distortion, an enticing wirery bassline marching right through the room. Three unassuming Japanese ladies stood on stage, creating havoc. I
n Melbourne for the series of Big In Japan exhibitions, Nisennenmondai is a cultural exchange of a
designed hurricane; a streamlined account of a punk rock disaster.

‘Ijen Urusuozuos’ is an unusual display; as the drums crash and the bass punches out a brooding bassline, guitarist Masako Takada’s sound was sent through a collection of pedals at her feet, to come out sounding like an erratic display of classical stringed instruments.  She rocked back and forth concentrating, while behind her was drummer Sayaka Himeno. In a similar fashion to that of Animal from the Muppets, Himeno’s limbs were flying everywhere with an unhinged strength. Lastly, in great contrast was bassist Yuri Zaikawa, quietly holding her bass close, hardly moved anything but her fingers while keeping a close eye on her guitar-playing counterpart.

As each long account fell into another, the drums continually lashed out at the jaunty guitar, the two battling it out, while the bold bassline encouraged the fight to go on. In a similar fashion to My Disco, Nisennenmondai’s music is a calculated chaos, the continuous circles of noise forcing you to move.