Don't miss one of the greatest rock 'n' roll acts on the planet right now...anybody who has seen the DMBQ spectacle can attest to their brilliance...
Friday, June 1
The Hosiery
443 I St NW WDC
8pm, $8, all ages
DMBQ (from Japan, Estrus Records)
The Apes (Birdman)
Food For Animals (DC hip-hop)
DMBQ http://www.dmbq.net No discussion of the Tokyo underground scene would be complete without mentioning DMBQ. They are the missing link between the much-divided Japanese noise, alternative music and garage-rock scenes. Their hard-rock/psychedelic-based music, infused with elements of noise and free improvisation, still unleashes an unstoppable power to embrace the whole spectrum of underground music.
DMBQ was formed around 1988 in Sapporo. By 1990, the band relocated to Tokyo and engaged in genreless activities, with Guitar Wolf, Boredoms and their family, Buffalo Daughter, Merzbow, and Violent Onsen Geisha, etc... Their sound, which was a complete deviation from the trend at the time, stood out in the local music scene and the band began to garner respect, especially from musicians. They released their first album in 1995 and were soon attracting more and more followers. The band continued to release albums on a regular basis; and in 1999, they moved to a major label, Parco/Columbia. In 2001, after 3 albums, they released a remix album, Resonated, featuring old friends Buffalo Daughter and EYE (Boredoms), etc. The following year, they signed a new record deal with Avex Trax, Japan's biggest major record label. They have released 2 albums since then. DMBQ has also performed with many overseas artists, sharing the stage at major rock festivals such as Fuji Rock Festival and Summer Sonic. They have toured the country supporting the likes of J.S.B.X., Fugazi, AxCx, Mudhoney, The Dirtbombs, Bob Log III, and 20 miles, etc.
Masuko is a well-known music/subculture writer. He has regular columns in several magazines.
The Apes http://www.theapes.com/ The Apes emerged from the wet, heavy jungle of Washington, DC in 1999 to command the rock subculture. Their modus: uniting great warlords, absorbing rogue factions, and educating red-handed guerilla bands with a passionately wayward rock signal.
Propelled by Erick Jackson's burning, fur-lined bass growls, Amanda Kleinman's horny and celestial banshee organ, and Jeff Schmid's iron-chest-of-cocaine drums, throat chieftain Breck Brunson (ably picking up where previous vocalists Paul Weil and Joe Halladay left off) channels the kaleidoscopic eye and children's black tears into the hearts of all. This overdriven rock assault drives forward as tales of conquest, social alienation, and a perverse spiritual kinship with the universe become trance-inducing incantations. Great armies of spectators prostrate themselves; the overcrowded brains of headphone astronauts are penetrated. Ultimately, a shared enthusiasm for the new aesthetic treasures of Ape magic and sound fury overtakes all.
