You still won’t have any idea of what hit you, but you’ll have a better idea of what’s happening around you at least in case it’s coming your way.

They say 55% of your first impression of someone or something comes from visual appearance and body language. These Sapporo boys (and really, they’re boys with an average age of 19) definitely make some kind of impression.

Enter stage left: bassist Koborikun in a skeleton suit, drummer Taichi has pink hair and is wearing nothing but boxer shorts, keyboardist Romantic Yasuda has on a striped blue, green and red suit jacket, and guitarist Kyosuke looks like one of the Ramones. They go right into their set and green-haired vocalist Ryo—me—, donning an embroidered blouse (possibly Hungarian) runs onto the stage and launches a giant red balloon attack onto the audience.

Confused? I sure as hell was, but it was so much fun. They had so much energy and their rock’n’rolltastic songs had depth, wit and a fair bit of cockiness.

For their second song, “Okashina Futari”, they threw out bags of small items into the crowd. As people gathered to pick them up, they explained to use these mysterious presents during the chorus. The chorus came and BANG! About 30 party poppers were fired into the air. At some point the guitarist ended up on the singer’s shoulders and then suddenly the song was over.
See what I mean about not looking away?

The drummer at this point stood up on his stool and was asked to “Henshin” (change appearance—this was also the name of the next song). He gladly did so, by stripping off his boxer shorts revealing a tiny pair of tanga. Ryo—me— threw the scrunched up undies into the audience, whose members ducked and narrowly avoided a close encounter they would possibly regret.

From there it just kept getting crazier, but that’s for you to discover in person. If you don’t think you’ll have the chance, make it, because they guys are worth it and steadily on the rise to (crazy-ass) fame.

Searing guitar reared among the fuzz and supporting harmony before a cantering run of riffs broke out under the duet of male and female singers. The simple, innocent voices provided a dose of normality among the storming instruments. A incomprehensible frenzy of guitar transitioned to a coursing line of melody, simple duet chorus sitting on it. This abruptly gave way to simple strumming and a melancholy, slow guitar solo that rises into screaming guitar.

Following up these strong instrumental showings was a more indie song with clean guitar, almost boppy riffs and a focus on the vocalists. Post rock guitar and keyboard duet opened the next, further increasing the amount of genres borrowed from. Second last song, bass and guitar duel and bend around each other before an anthemic chorus share between 3 members, as guitar grows shriller still. This morphed into a sludgy aharmonious, rough fuzzed out copy of the same song to finish.

The band’s greatest strength was the variety of genres they blended together without relying on any particular. They had a heady range of sounds, elegantly combined and one that had one the audience over by the time they had exited.

That is, until the band began to play. A unique fusion of tropical jazz, country and soft rock filled the air, gentle but invigorating. Satoshi Takegawa’s soft and lilting voice soothed and lulled fans either swaying along to the rhythm or sitting in camper seats. The latter were obviously well aware of Mori wa Ikiteiru’s style and wisely prepared ahead for maximum chillness.

We were transported to a place with a cool summer breeze; the only thing missing was a beer in hand. Don’t be fooled though. Songs may start sleepy and mellow, but just as you’re wrapped in a warm ball of fuzz and dreaming away, Mori will brutally wake you up with blaring trumpets and crazy keyboards. You’ll be glad they did though, because the pianist puts on quite the show.

The sextet is difficult to categorize, especially because of a long list of influences that could rival a five year old’s Christmas wish list to Santa. Not being able to pigeon hole them makes them that much more interesting, and probably explains the diverse crowd watching them. Judging by the size their audience they have a very high chance of making the big stage next year.

A person holding a giant staff with a shrimp on it acted as a conductor of sorts and led the group through mini-symphonies of electro-infused art rock.  Members played guitar, bass, drums, keyboard, xylophone, horns, and there was also a sound manipulator at the back of the stage.  Everyone in the band shook their heads and bopped along to the music being crafted turning the stage into a giant shrimp dance party.  At one point a band member began making giant bubbles with a bubble wand, creating even more of a party atmosphere.

Realizing a quick way to win over a crowd is to feed them, the band tossed out small packets of shrimp-flavored snacks towards the end of the concert. Then during their closing cut, three members jumped off the stage to groove along with the audience.  After the band made their exit, the crowd kept clapping for a few minutes trying to coax them out for an encore.  And for good reason too!  Oboreta Ebi no Kenshi Houkokusho’s entire 30-minute set was cool as hell to watch.