BOTTLE UP Devo’s matching jump suits, space-age spectacles and dangerously manic robo-beats, stamp with a “Made in Japan” seal and, voila, you have Polysics — the self-professed spiritual sons and daughters of a certain Akron, Ohio, band of new wave nerdos.
Creating a synthesized fusion of video-game bleeps and bloops and vocoded vocals, Polysics are an insanely wonderful hybrid of digi-dweeb new wave and spastic pop punk.
Regaled as Japan’s hippest import, the Tokyo-based quartet of geeky electro wizards stomp their way to San Francisco on Saturday to unleash a sonic assault of Godzilla-like proportions on Cafe Du Nord in support of the new release “Now Is the Time!” (Tofu Records).
But to understand the enigmatic gang of four, one must understand frontman Hiyashi’s obsession with all things new wave. Among the myriad bands that have left an impression on him, the obvious, of course, is Devo. The mad synth scientist constantly credits the group as the impetus behind the formation of Polysics.
“The thing that influenced me most was (Devo’s) punk spirit that’s more punk than what (most) punk people have,” explains Hiyashi via e-mail.
In addition to his adoration for Mark Mothersbaugh and company, the duality of electronic soundscapes created by artists like Kraftwerk, XTC and P-Model is what attracted him to the genre of digitized grooves.
“Sometimes it’s stronger than guitars, and sometimes the sound is bigger than rock bands. On the other hand, at times it’s tender and gentle like a mother, and can touch people’s heart like the movie ‘Ghost,'” he says.
Initially, as a solo venture, Hiyashi began making frenetic discordant pop songs in 1997 under the name of Polysics (an homage to his first Korg, the Poly-six). He eventually recruited Kayo (synthesizer, vocoder, vocals), Fumi (bass, vocals) and Yano (drums) and by 1999 signed with indie label UK Project to release the debut album “1st P.”
A handful of albums followed, but it wasn’t until the 2001 release of “Hey! Bob! My Friend!” (Asian Man Records) that the states got a taste of Polysics’ infectious “japanoise” rock. While the zany electro-punks were out and about making audacious jams on the cusp of the ’80s resurgance, they never were lumped in with the lot of revival acts. Yet they still amassed enough attention to garner critical kudos and even a cult-like following.
It’s rumored that the band’s trademark “P” can be seen emblazoned on signs around Tokyo, but when asked about Polysics’ fans and their propensity for deviant behavior Hiyashi says, “Hmmm. I can’t say anything about that. You should come to Japan and check with your own eyes. You’ll be surprised.”
Despite Polysics’ loyal following overseas, Hiyashi insists that there is a distinct difference between the Japanese and American music scene.
“(The) American audience is independent, whereas Japanese people care about what people think about themselves. So, if people around them aren’t so into the music and enjoying it, they won’t be either,” he says.
But if there’s one thing the man behind Japan’s hyperactive take on new wave wants from fans is simply an open mind to experience Polysics’ dizzyingly chaotic live show, which he insists delivers “something you’ve never seen (or) heard before.”
You can reach Christina Troup by phone at (925) 416-4856.
