A Gateway to the Tokyo Underground Scene: My First Listen to Belmadigula's 'Spells'

The most vital discoveries in underground music don't come from an algorithm; they come from a trusted human connection. My recent descent into the thrillingly chaotic Tokyo underground scene is a prime example. It began with a tip from a friend deeply embedded in the world of Japanese experimental metal, leading me to Belmadigula and their album Spells. I wasn't just impressed—I was completely floored. This is the story of discovering a sound that is actively redefining the boundaries of heavy music.

A Trusted Source, A Sonic Revelation

The journey started with a simple festival announcement. My friend Harima of the funereal doom band Begräbnis mentioned he was sharing a bill with Belmadigula at Asakusa Extreme 2025. Knowing Harima's uncompromising taste, I immediately sought out their album, Spells.

My first listen was a genuine revelation. This is not just another heavy band; it's an immersive experience. The music is hypnotic and rhythmic, with moments that evoke the cosmic, trance-inducing grooves of Ufomammut. This powerful sludgecore foundation is expertly crafted and would be enough on its own for a glowing recommendation. However, it's merely the launchpad for what makes Belmadigula a truly pioneering force.

Deconstructing the Sound of 'Spells'

Beyond the doom-laden grooves, there is a distinct flavor of chaos—a frantic, unhinged energy that feels both deliberate and volatile. I realized this was a defining characteristic of a new wave of bands emerging from the Tokyo underground scene. It's a specific alchemy of performance and production that creates a sound that is profoundly and wonderfully unhinged.

As I listened, I connected this thread of beautiful, terrifying chaos to other trailblazing Japanese bands: the ferocious grind of Friendship, the dissonant sludge of Su19b, the sheer terror of Abiuro, and of course, the godfathers of this sonic approach, Endon. They all share a willingness to push their sound to the absolute breaking point.

The Alchemical Recipe: A New Form of Metal

If I were forced to describe the sound Belmadigula has perfected on Spells, I'd call it an elevation of the relationship between Death Metal, Doom, and Powerviolence into a jazzier, more aggressively psychedelic realm.

That description may seem contradictory, but the magic is in the performance.

• The "Jazz" Spirit: This isn't about swing. It's about the spirit of improvisational combat. You can hear the drumming actively sparring with the riffs, creating a constant, unresolved tension that makes the music feel thrillingly alive.

• A Claustrophobic Psychedelia: This is not a blissful, expansive trip. It's a menacing, claustrophobic anxiety, a sound designed to shatter your perceptions. It’s a bad trip in the best possible way.

• Raw Hardcore Energy: The visceral freedom and raw aggression of hardcore punk is a key ingredient. It's the catalyst that twists the death-doom foundation into something entirely new and unpredictable.

This is the menacing core of the Belmadigula experience. It’s the sound of technical mastery being pushed into the red until it frays at the edges. The chemistry is so volatile it feels like it could explode at any second. The real magic is their control over this beautiful madness.

The Creative Power of This Sound

As a composer myself with Worship Pain, this is the kind of underground music that fuels my inspiration. For filmmakers and content creators, the raw emotion captured on Spells is an incredibly potent tool. The sound of the Japanese experimental metal movement is pure, unfiltered intensity.

Imagine using a track like this to score a tense psychological thriller, a visceral action sequence, or a brand campaign that needs to feel disruptive and edgy. This music bypasses intellectual analysis and hits the listener on a gut level. It feels real, dangerous, and utterly unforgettable.

Beyond the Mainstream: What Japan's DIY Music Scene and a Wild Food Festival Have in Common

One of my favorite Hard Psychedelia bands, Tokyo’s Mainliner, played one of my favorite Extremely Loud Venues, Koenji’s UFO Club, earlier this year. That place is electric. Hot, too. But more than anything it is dangerously loud, exactly the level of overdrive that a band like Mainliner needs. There were maybe 30 people there. The "stage" is barely worth calling it that, and after the set, the band hung out like they were just part of the crowd. That, to me, is the raw, beating heart of the DIY music scene. It’s a vital organ of Japanese counter culture, an ecosystem built not on hype, but on a shared, visceral need for authentic community.

For years, I've lived and breathed that world. But recently, I've started seeing that same defiant, passionate ethos appearing in the most unexpected places. What if you could find that same energy, not in a smoky club, but on a windswept beach at sunset?

The Spirit of the Anti-Scene

The best parts of the DIY music scene have always been about creating an alternative to the polished, predictable mainstream. It’s an "anti-scene" built on doing things for the right reasons, on your own terms. It’s a reaction against the sterile, pre-packaged experiences sold to us. I’ve noticed a similar current running through other parts of Japanese culture, particularly outside of Tokyo. People are tired of the generic and are now creating their own alternatives in food, craft, and gatherings.

This is what led me to an event happening on the Chigasaki coast. The town itself has a fiercely independent streak, a surf-and-skate culture that has always done its own thing. It's this spirit that makes it the perfect host for something that channels the DIY ethos.

The Sound of Authenticity (Food Edition)

In the underground, we value the raw over the refined. The blistering feedback of a noise artist’s set, the slight imperfections on a screen-printed shirt, that’s where the truth is. That’s the feeling I get when I think about the food at this event. This isn't a catered meal from a corporate kitchen. This is wild boar and venison, sourced from the nearby mountains, cooked over a real, crackling wood fire.

It's the culinary equivalent of hearing a band's raw, unmastered demo tape. It’s honest, untamed, and hasn’t been processed through a corporate filter. A friend of mine who plays in a thrash band in Osaka spends his weekends foraging in the mountains, and he always says the same thing: "You can taste the difference when something has a real story." This is food with a story.

Fermentation is Counter-Culture

Another core tenet of Japanese counter culture is a quiet rejection of mass consumerism. It’s about reviving older, more human ways of doing things. That’s why the focus on fermentation at this event struck such a chord with me. Making your own kombucha, pickling vegetables, it’s a small act of defiance against the industrial food system. It’s the same impulse that leads someone to create a zine or start a distro out of their bedroom. It’s about taking control of the process, using time and natural forces to create something unique and alive.

The Merch Table (Beer Edition)

One of my favorite parts of any show is heading to the merch table after a set. You get to talk to the artist, hand them cash for their 7-inch, and feel that direct connection. You're not just a consumer; you're a supporter. The approach to drinks at this event feels exactly the same. They've invited a curated lineup of small-batch craft brewers to pour their own pints and share their stories.

Meeting the person who brewed your beer is like meeting the bassist who wrote your favorite riff. It closes the gap. It makes the entire experience more meaningful and reinforces the community you’re all a part of.

Building a Scene, Not Just an Event

Ultimately, a great show isn't just about the music; it's about the community that forms around it. It's the conversations on the sidewalk outside, the new friends you make, the feeling of being in a space with people who just get it.

This is the entire philosophy behind Firelight & Fermentation. The camping under the stars, the late-night acoustic jams, the shared meals. It’s all carefully designed infrastructure for building a temporary scene.

So, on August 30th and 31st, I’m helping bring this gathering to life. I’ll have anecdotes from Kaala, of course, but also MKUltraman and Akiyaz. It’s for anyone who understands that the spirit of the DIY music scene is about more than just sound. It’s a way of moving through the world. If you've ever found a home in the noise, the art, and the community of the underground, you'll find a home here, too.

The Butcher ABC Strategy: Building a Niche Brand That Lasts

For years, I've analyzed the intricate workings of niche markets from my position here in Tokyo. Few case studies offer more potent lessons than the band Butcher ABC. Their approach to longevity provides a masterclass in applying a Butcher ABC Strategy to not only survive but dominate a specific cultural space. By building an essential ecosystem around their brand, they have become more than just musicians; they are pillars of the Japanese Underground Scene. This model of calculated growth and community infrastructure is something I have adapted and now apply to help my clients achieve similar, lasting success in their own specialized fields.

Understanding the Core Product

More Than Just Death Metal

The sonic identity of Butcher ABC is their foundation. Their music is a distinct and groovy interpretation of goregrind, taking cues from legendary acts like Carcass and Dead Infection. However, this sound is not just art; it is the core product from which all other ventures gain authenticity. Their credibility is rooted in their musical excellence. Without this, their other business activities would lack a crucial anchor.

This is the first lesson: your central offering must be exceptional. Before you can diversify, you must first establish an unimpeachable reputation for your primary skill. For Butcher ABC, their brand of death metal is that undeniable proof of quality. It grants them the authority to influence and shape the culture around them. Consequently, their infrequent but high-impact musical releases are treated as major events within the community.

A Strategy of Scarcity

Quality Over Quantity Always

The typical band business model emphasizes constant output. More albums, more tours, more content. The Butcher ABC Strategy, however, deliberately rejects this premise. Instead of flooding the market, they prioritize curated, high-impact releases. A split EP here or a festival appearance there carries more weight because of its rarity. This approach accomplishes several key business objectives that I often advise my own clients to consider.

First, it builds immense anticipation. When Butcher ABC announces a new record or a major performance, it becomes a must-see, must-have event. This scarcity model transforms a simple product release into a significant cultural moment. Furthermore, it allows them to maintain an elite status. By not overexposing themselves, they avoid brand dilution and retain an air of mystique and authority. Their presence is a deliberate and powerful statement, proving that consistent market presence is far more effective than frequent market production.

Diversifying the Brand Portfolio

Building a Community Ecosystem

Here is where the Butcher ABC Strategy truly distinguishes itself and offers a blueprint for any niche brand. They have masterfully extended their brand beyond performance into essential infrastructure for the entire Japanese Underground Scene. I consider this the creation of a powerful business ecosystem.

Studio Chaosk: Engineering as a Service

Providing Essential Technical Expertise to the Scene

The members of Butcher ABC are not just musicians; they are also highly skilled sound engineers. They leveraged this expertise to establish Studio Chaosk, a recording studio that has become a go-to for many bands within the underground. This venture is brilliant for several reasons. It creates a new revenue stream completely independent of album sales or ticket revenue. Moreover, it positions them as technical authorities and essential partners for other artists. They are not just competitors; they are enablers of the very ecosystem they inhabit.

Asakusa Deathfest: Curating the Culture

Owning the Platform for Community Engagement

Perhaps their most significant achievement is the creation and curation of Asakusa Deathfest. This is arguably Japan's premier international extreme metal festival. By founding their own festival, they shifted from being participants in the scene to being its architects.

• Platform Control: They decide which international and domestic bands get a spotlight, making them influential tastemakers.

• Community Hub: The festival acts as a central gathering point for the entire Japanese Underground Scene, reinforcing their central role.

• Brand Reinforcement: The event is inextricably linked to the Butcher ABC brand, elevating their status globally.

Owning the platform is a powerful strategic move I consistently recommend. It transforms you from a content creator into the indispensable provider of the stage itself.

Cross-Media Ventures: Art and Collaboration

Expanding the Definition of the Brand

Beyond sound engineering and festival curation, the band has also organized art galleries. They invite international visual artists to collaborate with domestic bands, bridging the gap between the auditory and visual elements of the underground. This further diversifies their portfolio and reinforces their role as cultural connectors. It shows a holistic understanding of their community, recognizing that the ecosystem is about more than just music. It is about a shared aesthetic and a collective identity that they actively help to shape and define.

Lessons in Niche Domination

Applying the Butcher ABC Strategy

The success of Butcher ABC provides a powerful framework for any business operating in a niche market. The core lesson is to stop thinking of yourself as just a "content creator" or "product provider." You must become an essential piece of infrastructure for your community.

This Butcher ABC Strategy is about transforming your brand into a service provider, a platform, and a cultural hub. It’s a profound commitment to the health and vitality of your chosen ecosystem. Their work in the Japanese Underground Scene taught me that true brand longevity comes from building a world around your product, not just pushing more product out into the world. It’s a philosophy of deep engagement and strategic diversification that I bring to every client project, ensuring they build brands that are not just successful, but essential.

NEPENTHES, the new world standard in heavy rock, announces new groove-monsterized album

NEPENTHES’ vocalist, Negishi, was recently interviewed by Yahoo! News Japan. This is a translation from Japanese to English powered by AI.

NEPENTHES’ vocalist, Negishi, was recently interviewed by Yahoo! News Japan. This is a translation of that article from Japanese to English utilizing AI.

The expression "music with blood in it" has been used to describe the sound of NEPENTHES, but their music is not so simple. Their third album, "Grand Guignol," is "music that spurts blood and squirms in a sea of blood.”

Formed in 2012, the band has been overrunning the scene with their super heavy rock, and their new album, their first in five years, is even more powerful, swallowing metal, hardcore, and doom into a whirlpool of groove.

The curtain rises on the stage of Grand Guignol. Interview with vocalist Negishi Yoshiaki

Doom rock is "music with really cool riffs.

Yamazaki (interviewer): Last year (2022), NEPENTHES celebrated 10 years since its formation, and has finally entered the realm of veterans, hasn't it?

Negishi (Nepenthes’ vocalist): No, I don't feel that way at all. There are no senior bands in the hardcore and metal scene that have quit, so I feel like a young band. Of course, there are people who have been playing before us, and new bands are emerging. However, in my mind, "rock music" is the music of young people, so I want to stick to it as if I were young. When I hear ambivalent expressions like "adult rock," I feel like, "What is this guy talking about?

Yamazaki: What is the reason why you stick to rock music, especially heavy rock?

Negishi: I don't know. I am motivated by the loud music I have loved since I was a kid, and I am still doing it... That is my motivation. If you play loud music long enough in your career, you learn how to relax, but not like that! I want to make music that never forgets the impulse I had when I was a kid. I try to play music that goes straight into the heart of the music without forgetting those impulses.

Yamazaki: Please explain the musicality of NEPENTHES to listeners who are new to the band.

Negishi: The music of NEPENTHES is the music that we believe is cool, and this album is the result of that. Compared to previous albums, the "pressure" of the songs and the groove of the riffs have been strengthened. Doom is often defined by the intentional destruction of groove, but in our case, Suto (Kensuke, guitar) used to play with Earth Blow and Goto (Tatsuya, bass) used to play with Barebones, so rock and roll is overwhelmingly at the root of our music. Iwamotor (drums) is also the type of drummer who emphasizes groove, and this is what makes NEPENTHES unique.

Yamazaki: NEPENTHES' music is heavy, hardcore, and psychedelic in style, but elements of doom rock play an important role. What is your obsession with doom?

Negishi: Doom rock is simply "music with really cool riffs" in my opinion. Essentially, it is riff rock, and while some thrash metal and death metal riffs are cool, it is a different kind of coolness.

Yamazaki: How has the musicality of "Grand Guignol" changed compared to the past two albums?

Negishi: Well, I myself don't feel that much has changed, but I am inspired by the changes in the members. But I am sure that the addition of Goto has strengthened the groove of the rock roll. There was the Corona disaster, but after playing a lot of shows with this lineup since 2018, I feel that we have become more of a groove monster. I am convinced that there is no other band that can get this kind of groove than us.

Yamazaki: As the title "Grand Guignol" suggests, the style of the album is like an erotic freak show, but were you conscious of the totality of the album?

Negishi: Yes, a little, not much has changed since the beginning of NEPENTHES, but this time it is clearer, partly due to the use of the phrase "Grand Guignol" in the lyrics of "Perfect World". I think it is clearer this time. The previous titles, "Scent" (2015) and "Confusion" (2017), were more pinpoint, but "Grand Guignol" embodies the band itself. When I think of a freak show, I think of the street in front of Hanayashiki or the Hanazono Shrine in Shinjuku. Or the "six-foot-tall weasel" (laughs).

The initial impulse of men fucked by rock 'n' roll.

Yamazaki: What is the leader track Cut Throat from the album like?

Negishi: Cut Throat is a specific description of the world of the song in words, but it's not the only thing I'm trying to describe. There was a song on the first album called Conflict, and just like that, it is a dialogue between two opposing sides of myself, and it is a doom/stoner groove song based on a riff that Suto wrote shortly after we completed the album, Confusion.

Yamazaki: Is the title I Wanna Feed Your Dog an homage to The Stooges' I Wanna Be Your Dog? The song itself is not very similar, except that it is heavier...

Negishi: Yeah, it's more of a parody title than a tribute. I wasn't trying to make the song similar, but the title just seemed to fit perfectly.

Yamazaki: Bloodlust also has a song with the same title in Venom, but I think the only thing they have in common is that they are both heavy.

Negishi: Of course I love Venom, so I put my own spin on it. But it was the texture of the word "bloodlust" that gave me the idea, and when Suto came to me with the song, the word popped into my head. The song is not similar at all. I wrote the lyrics as an anthem. It's a song that brings kids together. If people don't feel that way, then it's a success. I can only write lyrics like this (laughs).

Yamazaki: Speaking of the totality of the album, is the repetition of the triplets of lead guitar phrases in Bloodlust and Cut Throat an intentional continuity? I am very impressed by the phrase, which is similar to Deep Purple's Child in Time.

It was never intended, but I think Suto said something like, "That sounds like Child in Time. (smiles). We all like old hard rock and have been influenced by it because it is in our blood, and we think that doing it in 2023 is what we are and where we stand.

Yamazaki: Tell us about the chilling acoustic ditty I.C. Water.

Negishi: I.C. Water is a song that sits as a cushion between Still Life and Cut Throat. Of course, I think it works well as a song, but I think of it as something like Black Sabbath's Orchid, where the groove is slowed down to a crawl.

Yamazaki: Wakuraba is over 11 minutes long, and is a doom epic that is a good way to end the album.

Negishi: Wakuraba has been in the works since after the first album, but it was a long time in the making, and finally I was able to finish it. It's a strange song, but it's one of the highlights of the album. I originally came up with this title long before we formed the band, when I was reading a lot of books and somewhere along the way, the word "sicklepod" made an impact on me. But after almost 10 years of putting it down, I came across a character named "Sickle Leaf" in the manga "Oni no Kane"... I haven't read it, but I'm sure I got the idea. I had not read the manga, but I was not happy to have the same story, so I decided to use the hiragana character wakuraba. From now on, when I write a song, I will announce it as soon as possible.

Yamazaki: What effect did having Koichi Hara as a recording engineer have on your music?

Negishi: I did not know Mr. Hara, but Mr. Hamada of Daymere Recordings, the company that will release the album, suggested it to me. I heard that he was the PA guy who was attached to the Boredoms when they were on tour in the U.S., and I also learned that he had worked with BABYMETAL, Boris, FRAMTID, GLOOM, NIGHTMARE, SECOND TO NONE, etc., so he came from that area. I decided to ask him to do it. Bachin! The high-end sound of the band was great, and he understood the music of bands like NEPENTHES, and he took us to a new place with a modern sound while utilizing the original musicality of the band. Even from the recording of the basic track, the sound was so big that it made me say, "Oh!” I said to myself. Thanks to that, I was able to start working on the album with a sense of excitement.

Yamazaki: What do you think is the appeal of NEPENTHES' live shows?

Negishi: As I said before, I think the initial impulse of the men who were fucked by rock'n'roll is directly expressed. But it is not rock'n'roll as revival music, but something that has been updated by the combination of these four musicians. I think people will find it cool regardless of genre. If it's not cool, it's not rock 'n' roll (laughs).

Latest Album

Grand Guignol

Daymare Recordings

Now on sale!

Live Schedule

• Saturday, March 18, 2023

  • NEPENTHESxTECHNOCRACY double album release gig

  • With TECHNOCRACY, 老人の仕事

  • At EARTHDOM, Shin-Okubo, Tokyo

• Sunday, April 23, 2023

  • With Sleep City, The Hawks

  • At HOKAGE, Shinsaibashi, Osaka

• Sunday, May 14, 2023

  • With Greenmachine

  • At Red Dragon, Nagoya

Links

Nepenthes Official Facebook

Daymare Records’ Website