Boomkat Product Review:
Unusual but deadly effective funk fusions of synth squelch and trad. shamisen strings from 1985 Japan - think a Far eastern Funkadelic, Egyptian Lover or Dâm Funk and proceed as the urge takes you
You’re looking at a prime slice of Japanese private press funk newly dished up for its first reissue and international release. Previously a subject of Left Ear Records’ compilation skills with ‘In Praise of Mitochondria’ in 2017, Minoru Fushimi made only a small handful of releases during the early-mid ‘80s that have largely become the preserve of collectors, but also more recently anyone who’s been keeping an eye on the avalanche of Japanese reissues over the past decade. However, it’s a sore thumb even among those resurfaced rarities, presenting a singular artist indulging his passions for Afro-American styles, from the blues thru rock and funk, thru a homebuilt lens of swanging drum machines and, most notably, the radical use of a 3-stringed shamisen and trad. Japanese wind which, together with the half-rapped Japanese vocals, really set it apart from any crowd.
Also later known as Hoodoo Fushimi on a string of albums in the ‘80s’ latter half, Minoru cut his teeth with this record, which was written at home after days spent teaching high school classes in Kanagawa. The results unmistakably sound like someone having a lot of fun getting into their thang, throwing down unique shamisen riffs in tandem with chromatic synths and greaziest funk bass on ’Thanatos’ right thru to the freestyling leads of ‘Dompan (Private Funk)’, with the aforementioned cover of ‘Foxy Lady’ standing out beside the type of chewy funk that will at the very least put a big grin on your fizzy with the spangled swag of ‘It Isn’t Because of Hemoglobin’, the Prince-esque angularities of ‘Hensachi-Sama’, and mutant yankee tekkerz in ‘Gal’s Blues’.