Buddhadatta describe themselves as Japanese buddhist-punk, which is an thoroughly enticing combination of adjectives. The three-piece herald from Nagoya and Osaka and their current Australian tour includes a number of Melbourne-based shows, with their appropriate penchant for the inner-urban small bars where overcrowding adds to the atmosphere. Your reviewer has had the opportunity to see two of such shows in the past month; the first at Shotkickers on February 27 with the Paul Kidney Experience and Curlers as support, and the latter at Gem Bar, the final Melbourne show, with Gold Coast Leathers on March 23.
Mention must be given to each of the support acts, all of whom performed admirably. The Paul Kidney Experience are deeply engaged in experimental and improvised industrial-psychedlia which they perform with great competence and instrumental juxtaposition; I will confess I am especially fond of Huich Goh’s violin contributions. In comparison, the Curlers provide for a 80s-style new wave synth-pop, but without being overbearing or elitist in their presentation; thoroughly grounded, these four women are highly polished in style, substance, and presentation. Finally, and to continue the notable variance in the support acts, Gold Coast Leathers are, perhaps as expected a surf-punk band with a hard rock edge and their own theme song and are not afraid of expressing Gold Coast cultural style (“I know a place where culture goes to die”).
As for Buddhadatta themselves, one cannot help but be thoroughly impressed by the sheer energy of their performance. Thoroughly playful and with a keen sense of the absurd, a deep sense of mystery, with mohawks, kimonos, and relentless asymmetrical tongue-poking from the bassist Seiko, perform with deep throat-singing at rhythmic speed. At times Buddhadatta are the closest I’ve heard to a combination of punk and funk since The Gang of Four (e.g., Immortal Power), tribal dissonance (e.g., Mara’s Attach), and for others they commune with The Cramps and, for one very memorable piece, they start with a clear hat-tip to The Exploited’s “Blown to Bits” before easily seguing to the style of The Dead Kennedy’s “Police Truck”.
One very important attribute of all the bands must be mentioned; they are personable. They engage and interact with their audience, up-close and friendly. You can meet them at the bar or outside for a conversation. They will happily take photos with you. There is no need for any of these performers to pretend to be distant or only make themselves available for a select few. True to the spirit that locally-performed music exists for the enjoyment and spirit of local people, all and sundry are invited to participate. It is truly fortunate that each of these bands can do so and still provide with skill and creativity.
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