(Independent Mind 10/22/2002) Osaka, Japan's Ultra Fuckers are punkers with whitehot scree and hiss in most of the right spots. Most of the songs are uptempo garage punk, similar to other Japanese bands of their ilk. They do slow it down a little and let it drone on a few numbers, sounding eerily like the Bunnybrains covering REO Speedwagon's "Riding the Storm Out" on one track...and unholy union if there ever was one. It's the energy and the wild sense of rebellion for the sake of THE ROCK that's not easily faked and an unabashed strangeness that makes the Ultra Fuckers worthwhile. It's music that sounds best muddy and distorted, and loud. I still don't understand why it is that some groups are able to make 3 chord garage rock fun and interesting while most perps bore the poo out of me. But this ain't music to spend a lot of time thinking about; this is music to listen to while gettin' loaded and thinking about wearing tighter jeans, maybe. - Edward McElvain
(I am Cancer 3/1/02) Sludgesville, and possible mono-fi recordings from some humans that call themselves "the ultra fuckers" i have been a-looking in dirty catalogs all night, and havent seen a thing in the ultra fuck sense. i did see a nice mesh undergarment, and a strange, yet tantalizing "ball cage" - tape hiss and broken guitar roll, feeds its way straight onto ones perfumed beer lips. - Chris Fischer
(Summer of Hate) A D.I.Y. release with 13 cuts of Japanese lo-fi from ULTRA FUCKERS, featuring two members of GODKILL. The songs are best described as your most basic punk mixed with something from THE RESIDENTS. Distorted bass guitar and electronica. Some of them instrumental, some of them not. I'm not a big fan of lo-fi noise and don't know much about it, but I like this album, though the faster songs suited me a lot more than the slow ones. With titles like Let's Go Space Beach and German Rock Radio II this will probably appeal to the western world collector scum who are into Japanese releases as pure novelty items, too. The tag line ''we are psychederic warrior...'' sums it up I think. - Karl Backman
(Indieville 10/27/2002) Straight from Japan comes the Ultra Fuckers, an Osaka garage punk band that will just rip you apart. Beyond The Fuckless, their latest album, is the perfect example of what they're capable of. Though the recording quality is, quite possibly, the most terrible I've ever heard, that doesn't seem to detract from the music at all. Take "Holly Bible" (that isn't a spelling error), for instance. Just under two minutes, the track poses death metal-esque vocal growls, highly distorted guitars, and destructive drumming under a veil of that stuffy "tape sound" that plagues bootleg recordings. Despite the screwy recording, though, the message still gets out, and any Japanoise garage fan will completely love it, intoxicated or not. Also fantastic is "Punk Mescaline," which sounds as if it was recorded underwater, but still manages to take you on an ultra fucking thrill ride. The track's DIY ethic is what really stands out, and the sheer destructiveness of it all is what keeps you banging your head. This thrashy garage sound describes most of the album's thirteen tracks, although there are times when the band decides to go for a more droney style. The two "Long Number" tracks are perfect examples of this. While perhaps they don't fit under the traditional definition of "drone music," they still manage to carry a surreal, airy sound to them - mostly due to the heavy reverb they have going on. This works surprisingly well, and gives the tracks a spacey, psychedelic feeling. It's kind of like a throwback to some of the more experimental, noisy psychedelic acts that were going on in the sixties - especially those in Japan. Also equally psychedelic is "German Rock Radio II," an intergalactic psych trip that will get your soul floating above your head. All in all, this is a must for all fans of punked-up garage rock, especially of the Japanese persuasion. Be warned, though, this ain't no Nuggets - this is the bloody Ultra Fuckers! - Matt Shimmer
(Blastitude no. 12) Beyond the Fuckless is probably the greatest album title ever. That said, the music on here is kinda sweet too. This is a band I've never heard of, though. "Recorded 2001 Jan-Oct On Studio Puzzle, Osaka" suggests a possible Boredoms connection via the Puzzle Punks. Well, regardless of who the Ultra Fuckers are, what they sound like is a pretty raging lurch-punk power-band boasting some of the worst recording fidelity ever. The thrashing music is mired in the same beyond-the-red muck that Asahito Nanjo productions are, except Nanjo's shit always sounds like the muck was added later. With the U.F.'s, you can tell that the muck is coming straight out of the fuckin' amps. It's damaged shit, and a refreshing change of pace from Public Eyesore's usual strict-improv palette. - Matt Silcock
(Aural Innovations no. 23) Ultra Fuckers are a Japanese garage punk hardcore thrash bash yer face in band that also explores space rock and psychedelic territory. The music is full of classic punk anger and rebelliousness. The recording quality is pretty terrible but it doesn't really matter because it fits the music perfectly and it's clear these guys can do a lot with a few brain blistering chords. But there are also a few tracks which indicate a space-psych interest. "German Rock Radio II" is a low key tune that includes keyboards and a bit of a Stoner Rock vibe. "Let's Go Space Beach" consists of tripped out punky metallic Krautrock. Imagine a thrash-metal version of early Guru Guru. "Long Number #1" goes completely into space giving me the impression these guys have been influenced by Hawkwind's Space Ritual. "Long Number #2" explores similar realms but is more... dare I say it... melodic. And "D.A.F." is the lone track with decent sound and, while still having punk moments, is a deep space atmospheric exploration that is a full 360 degrees from anything else on the album. The set is only 26 minutes long but I'm left feeling really curious about this band. I'll definitely be exploring them further. - Jerry Kranitz
(Komakino) UltraFuckers give a hope to all those Groups able to produce only the ever worst recordings. I'm talking about recordings quality, not about ideas. Ideas are really good. - Komakino already met Them on its #1 issue, but at that time we haven't any contact but a mailing address in Japan. Yeah, They're from Osaka, and i know You're ready to cite usual names Boredoms, Guitar Wolf, TeenGenerate. Anyway, this trio releases through Public Eyesore Their Beyond the Fuckness cd, 13 tracks for about 26minutes. I guess it's correct to say this is not lo-fi, this is mono-fi, at its best. It's a pearl if You loved early caustic Pussy Galore recordings (but forget Their Blues background), - furious male voices, heavy distortion/feedback, some psychedelic/ambient pauses. I guess They are animals when performing on stage. Listen to a sample from Airport Spout, or German Rock Radio II. There's only a track in hi-fi, that is D.A.F. sounding a bit 8o's. Best episodes, as regards me, Electro Do Stop, Bongo Roll, Bat Tragic. - Cd at 11$, get in touch. I know there are some people from Japan, visiting often komakino, - well, i'd be curious to know if They ever heard of UltraFuckers, or seen them performing. - Paolo Miceli
(AmbiEntrance 06/02) While it is known that you can't judge a book by its cover, you can sometimes make a more-or-less accurate guess about an album by its name... for instance, I intuitively divined that Ultrafuckers' Beyond the Fuckless was possibly not an ambient-listening release... score one for me! The 26-minute/13-song disc in fact would fall more into the lo-fi-Japanoise-surfpunk category, as defined by Kawai Kazuki Langley, Izumi Headache and Tom Nagata. The funtime drumming of Bongo Roll (:23) plunges right into the squawling, screaming, pounding furory of Holly Bible. Like a guitar-powered scouring pad for your ear canals, German Rock Radio II thrums with lyric-less energy and even a bit of musicality (and is that a flute?!) in the dense fuzz. Occasionally fading back to softer exploratory expanses like Long Number #1, the disc then stage-dives back into a spastic scorcher like Electro Do Stop, before concluding with D.A.F. (Kubitsukasan Mix) (4:01), a squealing cacophony underlined with drums, crazy vocalizations, and blistering guitarstreams which devolves into a simmering gray cloud. Not remotely ambient, but high-spirited sincerity and unbridled raucousness (with a bit of catchiness even ) will cut through obscenely murky production values for a B- anyway. - David J. Opdyke
(Hoflich Pages) Beyond The Fuckless – Central Scum Osaka. I got this at an Ultra Fuckers 10th Anniversary show by trading a Nina Hagen CD (“Freud Euch,” the German version of her 1995 release with Marky Ramone collaborating, a good one). A CD-R in a slipcase. Comes with a cool little sticker. Wild band music, it almost sounds like ‘70s music or early Stooges. Lots of drums and grunting and lurid guitar. Some songs end abruptly. Nice guitar work here. Better than listening to Deep Purple! - Peter Hoflich
(Chain D.L.K.) Crazy shit I wasn't expecting to hear on Public Eyesore, except for the fact that this trio is Japanese. Ultra Fuckers start off as a garage-punk-hc band on speed recording in a basement with cheap equipment; cross Le Shock + any "Flex Your Head" band + The Boredoms + Teengenerate and you'll get close to the picture. Punk fuckin' rawk. From track 5, things get a bit weirder. Lots of raw (raw is the key-word here) psychedelia (ok, maybe that's why the cover says "we are psychedelic warrior…" - sic!), acid jams, some kraut rock too. Think of Can without any academic background recording in the same conditions mentioned above (minus the speed). Explicit titles like "German Rock Radio II" and "Let's go space beach". The last track, "D.A.F. (Kubitsukasan Mix)", reminded me of DEVO with its spastic electronic rhythm and grotesque vocals. This sounds like a joke, and I enjoyed listening. Super-cool layout. - Eugenio Maggi
(Ampersand Etcetera 2002_10) I am a bit ambivalent about expletive group names, but understand their aims and they do suggest what the music is (interestingly the words are obscured on the cover). Anyway, the disk reflects what you might expect from the name, at least initially. There are 13 tracks in 26 minutes – typical punk. After a brief excursion into melody that begins 'Bongo roll', the first four tracks are hard on thrash and drawl rock – a flat lo-fi recording absorbs the vocals into the wall of sound and the energy of drums and guitar drives you on. Track 5 ('German rock radio II') indicates a new direction with a PiL like instrumental of organ/synths over distorted feedback. In ''Let's go space beach' and 'Long number #1' we slide into chugging guitar psychedelia with some vocals but feeling more like an instrumental. The freeform guitar and irregular percussion on 'Long number #2' could almost be a surf rock outing. With 'Electro do stop' we get back to the harder faster heavy metal inspired music, coming as pulses of sound. Punk again on 10 and 11, guitar thrash on 12. Then another shift as ''d.a.f. (kubitsukasan mix)' provides a guitar drone and feedback instrumental, possibly some vocals in there, which reminds me of early Joy Division, away from the thrash, and running into a long ringing fadeout. The energy and variety on this album carry it through the formula barriers. - Jeremy Keens
(Broken Face no. 14) On the very same label we get a 25 minute long sound attack from the murky sound world of the questionably baptized Ultrafuckers. As the name might suggest, we get a torrent of tumultuous rock that goes back and forth from experimental to punk-influenced structures. Things get really interesting when this Japanese trio lets Krautrock repetition flow into the heavily distorted mix like in the mid-tempo rocker "German Rock Radio 2." It's a great example of showing how it's possible to find ways for harmony and discord to coexist. The production is of the 'below the basement level' variety, but that doesn't really matter when the results are this fun to listen to. The collision of overdriven guitars and blurred electronics of "Bat Tragic" makes me think of The Aesthetics. You can file these guys alongside the already mentioned New Zealanders and American Gang Wizard. - Mats Gustafsson
(Aiding and Abetting no. 232) Ultra lo-fi recordings of a Japanese noise trio. For those who crave such depraved rantings, well, this may be a treasure trove. I know I had a ripping good time. - Jon Worley
(Neozine no. 18) Basement core punk rock that spits like the old school. Rankled but catchy bite sized bits of phlegm and middle finger assault the senses without regard for professional expertise or respect. Down and dirty slop shoveling raunch that digs into your ear and kinda makes you wonder where in the world you find these things. There are some really interesting moments here and there (experimental stone rock ambience) and there are also a few that bug me. Never the less, I can get comfy with this CD onits own primitive level, and that's enough to make me forgive the sour notes. - CHC
(All Music Guide) Garage rock is a way of life, meaning that it is very difficult to analyze or review: either you get and love it or you don¹t. The Ultra Fuckers are a Japanese trio that may very well represent (although they are not alone) the very worst of what you can imagine in a garage band. Upon first contact, Beyond the Fuckless is a brutal, murky piece of s***. Recorded below lo-fi (another writer described it as mono-fi), these 13 cuts total 26 minutes of music and believe me, despite the short duration you will feel flushed out. Kawai Kazuki Langley, Izumi Headache and Tom Nagata¹s recipe consists of two-thirds speedy punk rock, raw, screamed at the top of the lungs, with something of a Boredoms/Melt Banana attitude, and one third krautrock/psychedelic rock (think early Can), both kept in separate bowls. We are greeted with one-two punches like 'Holly Bible' and '(Into The) Scumbag' but soon find slower, more sedate tracks like 'German Rock Radio II' (this one really close to Can/Faust) and 'Long Number.' Guitar, drums and vocals collide in the boombox that was presumably used to record this album, which makes it very difficult to hear this band¹s quirks -- and it has a few, as this is not 'straight' punk/garage. Notions of 'good' or 'bad' don¹t apply when you are into that kind of music. The only thing you value is authenticity, honesty. These guys have a-plenty, but you better know what you¹re stepping into. They don¹t call themselves The Ultra Fuckers for nothing. - François Couture
(Bananafish no. 17) Ultrafuckers' Beyond The Fuckless CDR is a winner, though. Thirteen tracks of mostly buried-in-the-red punk muzz, this is almost like the second coming of Solger. Doesn't matter that it's postmodern, I mean, Japanese. I think they're onto something. - Roland Woodbe
(Dead Angel no. 52)
TMU: I just want to go on record, straight up doom childe, that BEYOND THE FUCKLESS is maybe the greatest title ever in the history of western civilization, and that Ultra Fuckers is almost -- almost -- as cool a name as UNHOLYDEATHMACHINE.
TTBMD (wincing as cd plays): Pretty rough sound quality...
TMU: They're called the god damn motherfucking ULTRA FUCKERS, they don't need fucking sound quality. Hey, when he shouts like that he sounds like he's having a cattle prod rammed up his ass real hard. I like this record already.
TTBMD: I thought it sounded more like he was on fire.
TMU: Can we tell what language he's singing in? This sounds like what the jungle natives would come up with after eating the missionaries and abusing their recording equipment while drunk on blowfish juice and magic mushrooms.
TTBMD: This could have been done better.. the material's there, but it's lacking something....
TMU: Think of this as a document capturing a moment in time, okay? Imagine... you're in the rec room or basement at someone's house... everybody's shirtless and getting mondo fried... the vibe is there... a certain... yes... recklessness in the air....
TTBMD: They recorded this on a fuckin' boombox! How reckless is that shit?
TMU: ... and then... then... two drunk fucking apes crawl up to the untuned guitar and ramshackle drums in one corner of the room and start whacking away at stuff, possessed by their inner demons, and the results are so startling that you reach for something, anything, to record it for posterity. Like... like recording it on the back of your little sister's beat-up Shaun Cassidy cassette that she left sitting in the hot sun at the beach and now it's, like, not so good, but you're gonna use it anyway and record this amazing fucking event and you don't even care how it sounds, right? Right? See, that's what's happening here. It's a document.
TTBMD: Song number five is pretty rockin'....
TMU: "German Rock Radio II."
TTBMD: Sounds like a really lo-fi version of Six Finger Satellite.
TMU: Sounds to me like the funny noises the bus makes in the morning. Look, the blues!
TTBMD: Still, all in all, the best thing about this band is their name. And they have cool artwork. And song titles.
TMU: It's a concept thing. I'm grokkin' their concept. I wish i were cool enough to be an Ultra Fucker. These guys are even sleazier than the Oblivians.
TTBMD: You are an Ultra Fucker. And no way are they as good as the Oblivians. I wish this had been recorded better....
TMU: Well, perhaps they will use this as a revelation, one in which the dark angel of splattergrunt tells them to hie their well-baked buns off to a real recording studio and capture the madness with a tad more fidelity.... - RKF