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It’s
kinda funny, when you think about it. Kiss were a buncha white guys
in Kabuki make-up and stackheels, and everybody thought they were cool.
But when Kiss themselves presented the world with a
JAPANESE band in Kabuki make-up and stackheels, everybody thought they
were ridiculous.
That’s not EZO’s fault, tho. EZO were supposed to be
Samurai-metal freaks from the Electric Future, and that’s exactly
what they were. The rest of the world just wasn’t ready for ‘em. It still
isn’t, and it won’t be, until Japan wins the Great Culture War. And
if schoolgirl panties vending machines and those videos where the chicks
puke shrimp into each other’s mouths are any indication, that ain’t gonna
happen anytime soon. So EZO will remain superfreaked spacemen from
another dimension, now and forever.

It wasn’t always like this, tho. No, back in 1984, in Sapparo, Japan,
EZO were called Flatbacker (GI Joe slang for prostitute, by the
way), and although they were still a metal band- were actually a
splinter-cell of Brit-metal wannabe’s Killer, in fact- they were
the kinda metal band that had really cool hair, ya know? Sure, they wanted
to sound like Loudness, ‘cuz every Japmetal band wanted to
sound like Loudness, but they wanted to dress like Johnny
Thunders, too. Johnny Thunders from the future, even.
So, they played Cyberflash
metal, and released two albums worth o’ the stuff back home. I
don’t remember ever hearing them at the time, but both records were in
English, so they musta been trying to muscle their way onto Western soil,
or at least into Western metal-ears, even back then. And while that did
not work in the case of little ‘ol me, Buzzkill-Supremo Gene Simmons
heard ‘em, alright. And, as you and me and Ronny Keel and Wendy
O-in-Heaven already know, Gene Simmons = instant
Flash Metal Suicide.
I don’t know how the dirty deals went down, but the next thing ya know, it
was 1987, and Flatbacker found themselves lounging poolside in LA,
with a new name, EZO (means “man” in Japanese), a new record label,
(Geffen), a new producer (the diamond demon, natch), and a bitchin’
video fulla explosions and hair for a song called “Flashback Heart
Attack”, which pretty much SOUNDED like explosions and hair. I
remember seeing it for the first time on the Headbanger’s Ball ( I
know, where else would I see it, but I’m aiming for accuracy, baby), and
just being knocked halfway off the couch. People like to say- mostly cuz
they’re lazy, I think- that EZO simply sounded like a Kiss
rip-off. Now, they most assuredly WERE a Kiss rip-off – Mr.
Simmons imported them for just that reason, I’m sure- but that’s only
the way they LOOKED. Kiss started out playing 50’s prom
dance rock n’ roll, after all, and by the mid-80’s, they were playing
puffball FM rock (I know, ya hate me for saying so, but it’s TRUE).
Kiss NEVER played metal- ‘cept for “God of Thunder”,
maybe, and only when White Zombie were tearing it to pieces- but
EZO did. EZO played the LOUDEST
flash metal you ever heard in yr fuckin’
life. Every goddamn song was, like, one gigantic riff that they hammered
into your brain like Tetsuo the Iron Man, until you just couldn’t
help but to just submit to their crazy Japanese warpainted headbanger
madness. EZO’s version of rock and roll was so overblown that it
was hardly recognizable as anything but million dollar noise, and more
then just batter your eardrums, it hit you, visually, like bright flashes
of blinding pink light. EZO were the world’s first 3-D metal
band, man.
“Flashback
Heart Attack”, as the title would imply, left America’s youth dazed
and confused, so EZO decided to finish off the job by releasing a
whole ALBUM’s worth of the stuff, the cleverly titled “EZO”.
If you’ve only ever heard “Flashback”, then you’ve pretty much
already heard “EZO”, but much like a 100 MPH blowjob, everybody
oughta experience the whole thing once. I guarantee that you’ve never
heard production like this before- Gene Simmons musta lost his
fuckin’ mind, because there is nothing remotely ORGANIC about
anything on this record. Hiro’s drums sound like satellites
crashing into the ocean, Shoyo’s guitar sounds like volcanoes
erupting, Masaki’s vocals sound like an electrocuted werewolf, and
it’s all so goddamn loud that you simply cannot listen to it at a
reasonable volume, because it WON’T LET YOU. The highlight of the
record has gotta be the “Mr. Midnight”, which has about 80 tracks'
worth of creepy crawling guitars, or maybe “Here It Comes”, which
has these pounding tribal drums that swirl around yer head until you start
to think that maybe you’re gonna have a flashback heart attack, or
something. It’s all pretty fuckin’ great, tho, a supersonic gangbang of
phonetically howled gibberish and sci-fi disco metal that could only have
come from the 80’s, and will only truly make sense in 2087.
Despite
dressing like tranny hookers from Blade Runner and sounding like
heavy metal computers programmed to turn the brains of teenage America
into mush (I was there, man, it wasn’t gonna take much), EZO
managed to have a pretty decent run, touring with Guns N’ Roses in
’87 and following up “EZO” with an equally overwrought album, “Fire
Fire” (Geffen) in 1989. But you know, nobody ever really GOT
what EZO were up to, and when they did finally wipe off the make-up
and tried giving it a go as a stripped-down metal band, it was 1990, and
it was Nirvana, it was Alternative Nation, blah blah fuckin’
blah. So, EZO imploded before it got too embarrassing.
Um, I don’t remember drummer Hiro bein’ a girl, but he was
apparently a member of Cycle Sluts From Hell a year later. He and
singer Masaki both eventually joined Loudness for a cuppla
late 90’s albums, which, after all, was what they really wanted to do in
the first place. Most recently, Hiro has toured with Japmetal band
Anthem, and in 2002, he and Masaki and reunited once again
in a new band, Snake Bites.
And Gene Simmons? Why, he’s selling
coffins.
All those Flash Metal Suicides really
start piling up after awhile.
Further:
Hiro Homma’s
official website (English, sorta)
Anthem website
(Japanese)
-Sleazegrinder
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