Widely considered in Japan to be one of the all-time greatest punk records, 1981's Don’t Eat Food! is here available on a first international edition, dished by the Mesh-Key label behind those reissues of killer Aunt Sally and Tolerance sides from the same scene and era.
Don’t Eat Food!’ is little known beyond its homeland, but is bound to make an impact with punks of all stripes. That’s largely due to the energy and snot-flecked delivery of frontman Machida Machizo, who, we’re informed, sings in a thick Osaka accent that, in proper punk style, represented his relative outsider roots and cocked a snook to snobbier, fashionable Tokyo types. Even if we haven’t a clue what he’s saying, the tortured punk attitude is palpable as he proves equally adept at high octane holler and thrust as ironic slants on vintage garage rock ’n roll.
In contrast to Osaka scene peers Aunt Sally and Tolerance (who would, at one time play in the band), INU play it straight, not avant-experimental, in the crudest but effective style of US & UK punks such as The Ramones to The Sex Pistols. They’re a tight unit, seething with direct melodies and petrol-fuelled bass revs that propel Machida’s yowl and provocations that would apparently get him in bother with audiences, proper punk, like. For us the best cuts are the rowdy ‘Old Man, Old Woman’, the swaggering shot of ‘Dumdum Bullet’, and a canny declension of energies giving way to ironic lounge lizard steez on the title tune, but it’s all bound to find favour with punks who’ve tired of the same old, and want to brush up on their local Kansai dialect.
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Remastered from the original tapes. With 8-page booklet with never-before-seen photos, lyrics in English and Japanese, and liner notes by Syojiro Ishibashi.
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Widely considered in Japan to be one of the all-time greatest punk records, 1981's Don’t Eat Food! is here available on a first international edition, dished by the Mesh-Key label behind those reissues of killer Aunt Sally and Tolerance sides from the same scene and era.
Don’t Eat Food!’ is little known beyond its homeland, but is bound to make an impact with punks of all stripes. That’s largely due to the energy and snot-flecked delivery of frontman Machida Machizo, who, we’re informed, sings in a thick Osaka accent that, in proper punk style, represented his relative outsider roots and cocked a snook to snobbier, fashionable Tokyo types. Even if we haven’t a clue what he’s saying, the tortured punk attitude is palpable as he proves equally adept at high octane holler and thrust as ironic slants on vintage garage rock ’n roll.
In contrast to Osaka scene peers Aunt Sally and Tolerance (who would, at one time play in the band), INU play it straight, not avant-experimental, in the crudest but effective style of US & UK punks such as The Ramones to The Sex Pistols. They’re a tight unit, seething with direct melodies and petrol-fuelled bass revs that propel Machida’s yowl and provocations that would apparently get him in bother with audiences, proper punk, like. For us the best cuts are the rowdy ‘Old Man, Old Woman’, the swaggering shot of ‘Dumdum Bullet’, and a canny declension of energies giving way to ironic lounge lizard steez on the title tune, but it’s all bound to find favour with punks who’ve tired of the same old, and want to brush up on their local Kansai dialect.