Yuragi takes the stage as mild EDM with hints of dubstep plays over the PA. They themselves start their set with incredibly deep and slow bass, military-like snare rolls and chiming guitars. Their sound evolves with the addition of crunchy-ass 16th-note riffing on a guitar, which dies out after a few bars. Then, an 8th-note snare roll builds like a crescendo, and the heavy-ass guitars return. It seems as if there will be no vocals. This is probably meant to be cinematic shoe-gazer music (which it is) but then a female guitarist starts to yell melodically into a mic whose signal is buried in the mix; as if to give the impression that she is far away, underwater, or heard in a dream. She then launches into an “ooh-ooh-ahh” vocal in a high-pitched register, and the song jangles towards a close in a hail of melodic feedback. The few hundred people in attendance seem intent on witnessing the outcome of this battle. As this song ends, the vocalist says, “Arigatou,” in a tiny, high-pitched voice. She then goes onto say, “Fuji Rock no Saigo no yoru tanoshimou,” (“Let’s enjoy this last night at Fuji Rock!”) to which the audience cheers.

Their next song starts out so slowly and sluggishly – with the bass down-tuned so incredibly low, and the snare drum echoing so metallically – that this song would not seem out of place on the soundtrack for the classic FPS video game “DOOM”; which used to scare the hell out of me. This is not a song you would want to listen to late at night at home all alone, unless you are a fan of horror movies. Then, the singer’s voice comes through once again, singing lyrics that sounds like, “death was difficult”. Afterwards, the band picks up the tempo, but it’s still fairly nightmarish in tone. More high-pitched “oooh” vocals ride over top of the mix, as an insanely distorted guitar solos like the player is trying to break their instrument. As this latest track comes to an end, the vocalist once again voices a gentle, high-pitched “arigatou!”.

Song three starts out with chiming guitars strummed once on the downbeat of every second bar, while the vocalist sings gently overtop; managing to sound a bit like Björk. A swell of feedback then enters the fray once more, and we are back in a whirlwind of distortion. At one point, the composition gets quieter, reduced to gentle chiming guitar, snare rolls and the lead singer’s vocals, and it becomes pretty; like a childhood love story. After a two-minute passage of near silence (the players’ volumes being so low) the drummer clicks his sticks together twice, and the whole band is raging like an angry cyclone of distorted 16th notes, in 8/8 time. Two minutes into that section, the vocalist launches back into her high-pitched “ooh” vocals, then steps back from the mic in order to rock out more with the band, on her Telecaster. As the song cuts to a halt, the lead vocalist once again offers the crowd a gentle “arigatou,” and receives cheers in response.

She then thanks the crowd for staying until the end, as if she can’t believe that they did. The last song starts in a swell of feedback which dies down before a heavily distorted picking pattern emerges. A heavy hiphop beat then joins the fray, and it is in turn joined by a heavy, incredibly loud bass. And, once again, the vocalist’s trademark high-pitched “ooh-ahh”s are heard repeatedly. The song then shifts into a section where all instrumentalists collectively beat each beat of every measure as if to punish it for existing. And then, the song ends suddenly with feedback and static. The few hundred people in attendance applaud enthusiastically with their hands over their heads, and one person in particular continues to clap for a whole minute after the band has left the stage.