Japanese rock-band Number Girl were central figures within the alt-rock and punk motion that emerged off their hometown of Fukuoka in the past due ’90s. Often in comparison to U.S. rings such as for example Hüsker Dü as well as the Pixies, they truly became probably one of the most essential and important Japanese rock rings of their era. The band’s important creative driving push was guitarist/vocalist Mukai Shutoku, whose geeky persona and offbeat lyrical design made him an ideal anti-idol for Japanese alternate rock followers. He was became a member of by bass participant Nakao Kentarou and guitarist Tabuchi Hisako, with drummer Inazawa Ahito completing a lineup that could remain steady throughout the band’s profession. Quantity Girl first arrived collectively in 1995, playing displays around Fukuoka having a audio greatly indebted to 1970s punk rockers just like the Ramones and Iggy Pop. Their debut recording, Schoolgirl Bye Bye in 1997, showcased an audio frequently in comparison to U.S. alt-rock rings such as for example Sonic Youngsters and Dinosaur Jr., but additionally showed the music group developing its unique identification within japan music picture, with Tabuchi’s melodic acoustic guitar lines contrasting with Mukai’s slim, distorted, and occasionally tortured vocals. In 1998 Quantity Girl turned their foundation of procedures to Tokyo, having a re-released College Woman Bye Bye developing on indie label K.O.G.A. Information in the beginning of 1999; performed their first U.S. times in the SXSW event that March; and produced their major-label debut, College Woman Distortional Addict, later on the same yr. Musically, it boasted somewhat more polished creation and tighter musicianship than their debut, however the band’s dynamics continued to be fundamentally unchanged. On 2000’s Sappukei, the music group teamed up with manufacturer Dave Fridmann and began to expand its audio, bringing in extra instruments such as for example keyboards on some monitors and tinkering with much less conventional arrangements and much more hard-hitting lyrics. Amount Girl’s use Fridmann also proclaimed the original flowerings of Mukai’s curiosity about combining components of traditional Japanese music with modern rock, a theme distributed to fellow ex-Fukuoka musician Shiina Ringo and something that Mukai would develop additional on Amount Girl’s 2002 record, Num-Heavy Metallic. With Fridmann once again within the producer’s seat, the record took the designs hinted at on Sappukei and pressed them to even more extremes. Lead one “Num-Ami-Dabutz” hinted at that which was to arrive, using its funk-influenced bassline recalling post-punk rings just like the Pop Group and Gang of Four, and Mukai’s vocals portrayed by means of some sort of manic rap-rant. It ended up being Amount Girl’s last record with Nakao, who was simply the first ever to leap ship afterwards in 2002 — as well as the music group known as it quits immediately after. Nakao and Tabuchi continuing producing punk and indie rock and roll music within the mildew of early Amount Gal, with Nakao developing Sloth Like Chunks and signing up for punk music group Spiral Chord, and Tabuchi signing up for Bloodthirsty Butchers and developing Toddle. Mukai extended his side task, Zazen Children, into his full-time music group, getting Inazawa with him initially, before the last mentioned left to focus on his brand-new influx/disco-punk revival music group, Vola as well as the Oriental Machine.