Sit In The Chair, Human: A Ningen Isu Primer

Ningen Isu (人間椅子; The Human Chair) might just be the most prolific band you’ve never heard of, or if you have heard of them, probably the most prolific band with whom you haven’t done a full, deep dive. This would be understandable, as they have the kind of gargantuan catalog that, quite frankly, is so big that it seems a little impenetrable. Here are the numbers: after an eponymous EP in 1989, the band went on to record and release no fewer than 23 (TWENTY-THREE) full length albums, most of which clock in at around an hour in length each. They might drop another before you finish reading this article.

It’s an undeniably ridiculous amount of music, and it’s all quite good. It’s also a little miraculous; how does a group of people stay interested in this stuff for so long (35-plus years)? Furthermore, how do you stay interested enough to release so many records? Further furthermore, how do they manage to avoid releasing even a single clunker over this whole time? Band chemistry and songwriting talent go a long way, folks. As does a great core sound. And that is really what we’re really here to discuss: the music contained within this massive library. It starts with the story of two friends.

High school buddies Kenichi Suzuki (bass and vocals) and Shinji Wajima (guitar and vocals) quickly bonded over their mutual and complementary tastes for music. Suzuki shared his love of hard rock and NWOBHM, while Wajima got his pal into The Beatles and 70s prog. Together, these influences – among them an extremely healthy love for Black Sabbath – would help Ningen Isu form the various foundations of an often surprisingly varied sound. Yes, you’ll get the doom, the classic trad metal, and the boogie-fueled, bluesy hard rock, but you’ll also find trippy prog, flirtations with psychedelia, and catchy, bright melodies. While no amount of references will ever give you a full idea of their sound, the following ought to at least get you started:

Are they Japan’s answer to Black Sabbath? To Uriah Heep? To Clutch? Yes to all of those, but also no. They pull from a lot of places but their immense chemistry and band cohesion always make them sound 100 percent like themselves. You can tell that Suzuki, Wajima, and whomever their drummer happens to be at the time absolutely love this material (for over 20 years now the drummer has been sneaker enthusiast Nobu Nakajima). With every wicked bluesy riff, infectious vocal melody, oddball diversion, and white hot guitar solo – spoiler for the list below: Wajima is an absolute beast of a guitar player – that enthusiasm comes across vividly.

The result is a band that is simultaneously instantly accessible and yet rather deep. There’s also just something undeniably special going on across all this music. Their chemistry really is that great, and their songwriting, despite often starting with familiar ingredients, almost always heads in interesting directions. It all helps create a real sense of intriguing fun with Ningen Isu that can’t quite be captured through any other means than listening to a ton of their music. Yes, the costumes help with the charm, but it’s really all about the tunes.

Thankfully, they of course have a ton of music, which brings us to the ultimate question: how does one handle recommendations within such a vast catalog? Well, by getting a little vast with the playlist, naturally. What follows is a selection from every major Ningen Isu release (the debut EP and each of the 23 albums); yes, that’s a lot of songs, but I promise the adventure is worth it. Note that these might not be the absolute best Ningen Isu songs – in some cases they might not even be the best songs on their respective albums – because the list was really designed to provide a good idea of the surprising breadth of the band’s sound.

That being said, these tunes are all pretty great. Hopefully somewhere within this list you’ll find that special kind of hook that gets you into this kickass band. So grab a chair, have a seat, and enjoy.

THE NINGEN ISU PLAYLIST

1989: Ningen Isu (人間椅子; The Human Chair)

The Choice: “Shinkei-shou I LOVE YOU (神経症 I LOVE YOU; Neurosis I LOVE YOU)”

The Reason: Ningen Isu’s debut eponymous EP now seems like a bit of a footnote in the context of their extensive catalog, but it provides plenty of goodness nonetheless. However, some of the best of that fun was redone for their debut full length the following year, but not all of it. Remaining exclusive to the EP is “Shinkei-shou I LOVE YOU,” a bright and admittedly somewhat goofy hard rock track that shows off both the band’s playfulness (more Kiss here than Sabbath) and Shinji Wajima’s uncanny ability to drop an absolutely crackin’ guitar solo. This will be the first of many mentions of his lead skills.

1990: Ningen Shikkaku (人間失格; No Longer Human)

The Choice: “Sakura no Mori no Mankai no Shita (桜の森の満開の下; In the Forest, Under Cherries in Full Bloom)”

The Reason: If Ningen Isu’s biggest influence is Black Sabbath, “Sakura no Mori no Mankai no Shita” is the purest expression of that influence. It starts slower with a wah riff that is an obvious if not entirely direct nod to “Electric Funeral,” all plodding and mildly menacing despite being tuneful, and it echoes in the mind as the song transitions into something busier, a little more Sabbath Bloody Sabbath. The song’s finale likewise performs an homage, this time to the latter parts of the track “Black Sabbath,” with solo licks not even hiding what they’re doing. Something that is this much of an obvious pastiche shouldn’t work so well, but thanks to the talents of this band, it does and then some.

1991: Sakura no Mori no Mankai no Shita (桜の森の満開の下; In the Forest, Under Cherries in Full Bloom)

The Choice: “Yashaga-ike (夜叉ヶ池; Pond of Yaksha)”

The Reason: Yes, this album is titled Sakura no Mori no Mankai no Shita. No, it does not contain the song we just discussed, named “Sakura no Mori no Mankai no Shita.” Don’t worry about it. Instead, concern yourself with the magic of “Yashaga-ike,” a tune that shows off Ningen Isu’s range largely by being a tale of two halves. The first is serene and at times a little trippy, going from an almost hymn-like combination of acoustic guitar and singing to something verging on psychedelic with slide guitar offering a touch of twang. Then, as expected, the NWOBHM-influenced metal arrives in the second half, while vocals mirror earlier melodies and a doubled-up solo puts a cherry on top.

1992: Ougon no Yoake (黄金の夜明け; Golden Dawn)

The Choice: “Ougon no Yoake (黄金の夜明け; Golden Dawn)”

The Reason: Ougon no Yoake is probably Ningen Isu’s first complete banger of an album, really leaning into both their prog tendencies and that touch of trippiness that often defined their earlier albums. The title track serves as both a killer opener for the record and a sign of just how quickly the band was exploring less conventional songwriting. Its initial minutes show some very “album overture” vibes, hit some extremely deliberate doom riffing, and kick it up the thunder a little touch, but the moment that really glues it together is a very bright, Yes-ish middle passage (complete with great bass work from Kenichi Suzuki) that really emphasizes just how, um, sunny the whole track is. It’s the kind of perfect diversion that justifies everything that comes before it while amplifying all that comes after, both within the song and on this rad record.

1993: Rashōmon (羅生門)

The Choice: “Rashōmon (羅生門)”

The Reason: From an opening title track to a closing title track we go. “Rashōmon” sees the band really leaning into the doom metal at the core of their sound, using an absolutely classic doom riff to carry the verses and an almost ritualistic statement of the title at the end of each chorus (with certain moments aided by traditional Japanese instrumentation). That it picks up some steam is not surprising – Ningen Isu does not really do straightforward, after all – but their songcraft is again revealed in how they weave in little nods to earlier sections without really repeating anything. Oh, and a zany slide solo from Wajima doesn’t hurt either.

1995: Odoru Issunboushi (踊る一寸法師; Dancing One-Inch Preacher)

The Choice: “Dodarebachi (どだればち)”

The Reason: A little boogie woogie never hurt anyone, right? “Dodarebachi” opens with a riff so bluesy and infectious you might find yourself asking if Ningen Isu is more inspired by Clutch than Black Sabbath. Of course, the way the bass bounces around under the soloing, the way the drums provide a straightforward drive, and the way the vocals almost seem like an accent to everything else… that’s all 70s, of course, especially when it all jams out in the closing couple minutes. ZZ Top, Deep Purple, Budgie, and a touch of Rick Derringer (RIP)… you name it and Ningen Isu understands it to its core.

1996: Mugen no Juunin (無限の住人; Blade Of The Immortal)

The Choice: “Tsujigiri Kouta Musyuku-hen (辻斬り小唄無宿編; Street Murder Song of Outlaw)”

The Reason: If you ever wondered what a combination of Thin Lizzy and Mudhoney might sound like, well, this probably isn’t it, but this isn’t not it either. With its simpler, kinda dirty riffs, “Tsujigiri Kouta Musyuku-hen” definitely has a touch of grunge going on, but those harmonized leads are 100% out of Thin Lizzy’s book. Compared to a lot of the songs featured here, this one seems rather straightforward and simple, but it’s no simple task writing a vocal melody that’s as much of an earworm as that featured here. Yes, Ningen Isu understands their influences, but they also have an uncanny knack to get in your head and set up camp.

1998: Taihai Geijutsu Ten (頽廃芸術展; Degenerate Art Exhibition)

The Choice: “Excite (エキサイト)”

The Reason: Ningen Isu is a doom band, right? Not so fast, says “Excite.” This rapid-fire, borderline thrash song shows just how fun and irresistible this band can be at higher tempos. It’s punchy to the max, with spry riffing, roll-heavy drumming, and the type of chorus that you’ll memorize in approximately 2.5 seconds but never tire of (especially due to a loose little lead that carries it). The song is undoubtedly urgent, but it’s always a fun urgency, like “get in the car, losers, we’re going riff-cruising.” Raucous, riotous, righteous.

1999: Nijusseiki Sousoukyoku (二十世紀葬送曲; Requiem For The 20th Century)

The Choice: “Koi wa Sankaku-mokuba no Ue de (恋は三角木馬の上で; Love on Wooden horse)”

The Reason: So the answer to the previous question is that Ningen Isu is much more than just a doom band, and “Koi wa Sankaku-mokuba no Ue de” is here to support that answer with a sound that quite often verges on power pop. Vocal melodies are bright, drums pop (those double snare taps), and the perfect simplicity of the driving riffs will have you searching for your old Cars LPs. Add in some soloing that pulls heavy from the Ace Frehley playbook and you’ve got a song that shows Ningen Isu connecting with the absolute catchiest corners of hard rock.

2000: Kaijin Nijuu Mensou (怪人二十面相; The Fiend With Twenty Faces)

The Choice: “Imomushi (芋虫; The Caterpillar)”

The Reason: It’s around this time that Ningen Isu started perfecting their more extended, “epic” songwriting skills, and “Imomushi” would remain one of the best throughout their full career. The opening bass line manages to be both punchy and sad, and it colors much of the guitar work that would follow, giving the vocals a more expansive space within which to soar. The flashes of doom metal are brief, just enough to expand the dynamics, as “Imomushi” refuses to fully give into the thunder for most of its duration. Even when the band indulges their Iron Maiden side in the later minutes, it remains restrained, and serves to reflect that somewhat sorrowful feel that permeates this stunning track.

2001: Mishiranu Sekai (見知らぬ世界; Unknown World)

The Choice: “Amai Kotoba Warui Nakama (甘い言葉　悪い仲間; Candied Words and Bad Buddy)”

The Reason: If you’re looking for NIngen Isu at their simultaneous trippiest and brightest, “Amai Kotoba Warui Nakama” might just have what you seek. It’s a delightful little combination of lighter proginess, pop-ready vocal melodies, and neo-psychedelia (the first solo is like staring through a lava lamp), with only the occasional heavy riff to punctuate things. It doesn’t quite sound like Porcupine Tree, but it’s the closest Ningen Isu gets to sounding like Porcupine Tree, if that makes sense. It’s a cool vibe to live in, but what really elevates the song is the final section, in which those bright vocal melodies soar out louder and sunnier than ever. Great ideas plus deft songwriting equals greater results.

2003: Shura bayashi (修羅囃子; The Band Of Pandemonium)

The Choice: “Yakyuu Yarou (野球野郎; Baseball Dude)”

The Reason: Coming off such a relatively uncharacteristic tune, maybe it’s best to remind everyone what Ningen Isu does best: rock. “Yakyuu Yarou,” which translates to “Baseball Dude” (hooray!) does indeed rock, and it does so with a single-minded purpose. This tune is riff-forward, drivin’ hard rock of the highest order, with thick guitars and bass, klaxonesque pulled licks, a rip-roarin’ solo, and group vocals all adding to an impossibly fun vibe. Those group vocals, handled by both Suzuki and Wajima, create the impression that this was all recorded live in the studio, and that it was an absolute party to put to tape.

2004: San-aku Douchuu Hizakurige (三悪道中膝栗毛; Journey Through Three Evil Paths)

The Choice: “Shinsei (新生; Born Again)”

The Reason: San-aku Douchuu Hizakurige was the band’s first album with now-longtime drummer Nobu Nakajima, and for Ningen Isu, the beat went on (pun absolutely intended) in terms of them being both predictable with some tunes and rather unpredictable with others. Take “Shinsei,” for example, which mixes everything from Beatleseque vocal melodies and a type of hard rock funk (think funky Zeppelin) to introspective lightness and even southern rock terrain. The latter comes in the form of a slide solo in which Wajima goes goes full Duane Allman on your asses. And yes, it somehow all works magnificently.

2006: Fu-chi-ku (瘋痴狂; Hoochie Koo)

The Choice: “Genshoku no Kotou (幻色の孤島; Phantom Island)”

The Reason: “Genshoku no Kotou,” at nearly 9 minutes in length, admittedly takes a little while to get going. The opening minutes are largely bass-driven, straightforward rock, but then things start to get a little weird, a little disorienting, and then Ningen Isu unleashes the prog. You’d be excused if you thought certain later passages were lifted from 70s greats, because in separate sections Wajima does his best impressions of Steve Howe and Robert Fripp (the latter part is chef’s kiss). This is a long, strange song that might not make sense as a whole, but you’d be hard pressed to find a better expression of Ningen Isu’s more exploratory tendencies.

2007: Manatsu no Yoru no Yume (真夏の夜の夢; A Midsummer Night’s Dream)

The Choice: “Umi Monogatari (膿物語; Pus Story)”

The Reason: “Umi Monogatari” is, to put it both weirdly and bluntly, probably the closest you’re ever going to get to a mash up of The Lord Weird Slough Feg and Morris Day and the Time. You read that right. Bouncy hard rock/metal track contains a chorus that can’t help but call “Jungle Love” to mind in the absolute best way. But under those would-be OH-WEE-OH-WEE-OHs is the type of gallop you get from classic NWOBHM or later acolytes like Slough Feg. Even if you don’t hear the Morris Day connection, you ought to have a barrel of fun with this track, straight down to those gleeful screams that precede the chorus.

2009: Mirai Roman-ha (未来浪漫派; Futuristic Romanticism)

The Choice: “Gekka ni Sasagu Butou-kyoku (月下に捧ぐ舞踏曲; Dance music to the Moon)”

The Reason: The history of rock has no shortage of great songs that are obviously based on the bottom end, and “Gekka ni Sasagu Butou-kyoku,” like so many before it, has as its foundation one great Suzuki bass line that largely repeats throughout to create a vibe, a space. The drums work to match it, the hefty, menacing riffs feed off of it, and the soaring vocals wouldn’t have nearly the presence without it. When the song finally abandons the bass-driven lurch for a faster finish, you’ll still want to live in the eerie, expansive space that took up most of its runtime.

2011: Shigan Raisan (此岸礼讃; In Praise Of This World)

The Choice: “Jigoku no Rock Band (地獄のロックバンド; Hell’s Rock Band)”

The Reason: If you’d been waiting for Ningen Isu to give in completely to their flirtations with thrash, I give you “Jigoku no Rock Band.” In under three minutes, the band, driven by a snare-first rhythm from Nakajima, will thrash your brains off. Big hits, bigger riffs, and vocals that are just on the edge of going haggard and screamy. Yes, it’s still catchy, because Ningen Isu can’t suddenly turn off their innate charm and chemistry as a unit, but don’t be confused even for a second about this song’s intentions. Hell’s rock band wants to hurt you.

2013: Mandoro (萬燈籠; Ten Thousand Garden Lanterns)

The Choice: “Kumo no Ito (蜘蛛の糸; The Spider’s Thread)”

The Reason: “Kumo no Ito” is far from the only song in Ningen’s catalog, or on this list, that wants to rock you into next week, but folks, it really wants to drop the hammer on you. This is one lively, zippy track, loaded with nods to everything from Iron Maiden to stoner rock. Nakajima lays the foundation, holding back just so during the verses to allow the chorus – complete with ever-so-slightly strained vocals – to really burst. Oh, and Wajima’s solo? So white hot it bleeds right into the final verse.

2014: Burai Houjou (無頼豊饒; Fertility Of License)

The Choice: “Meishin (迷信; Superstition)”

The Reason: Excuse me, do you require a rocking-into-next-week encore? “Meishin” will oblige, thrashing out with a fury and general sense that you’re about to get thumped. But holy crap, folks, when it builds tension through a dissonant passage, only to absolutely explode through rolling goddamn thunder right after… you might see the face of The God of Rock (whomever that is). Everything about this song is set to maximum rollick, from Nakajima’s drumming bombast and the chorus vocal to the bluesier (and of course tip-top) solo section and run of Maideny harmonies that pops in out of nowhere. If you spun this song and still aren’t convinced of the ferocious power of Ningen Isu, then friend, I can’t help you.

2016: Kaidan Soshite Shi to Eros (怪談 そして死とエロス; Ghost Stories And Eros And Thanatos)

The Choice: “Madame Edwarda (マダム・エドワルダ)”

The Reason: If you thought “Meishin” was killer, hold on, because “Madame Edwarda,” the closer of 2016’s Kaidan Soshite Shi to Eros, might be the single finest tune in the extremely vast and extremely great Ningen Isu catalog. Through verses of alternating lithe and fat riffs, the vocals carry a sense of both urgency and a touch of melancholy, a feeling that is carried through the gorgeous and haunting chorus. When the track drops into quieter terrain, it starts becoming clear how much Ningen Isu put into this song. When it shifts to a coda of chanting and harmonized leads – like some sad version of Iron Maiden – all doubt of the song’s greatness is vanquished. It also goes without saying that Wajima puts his entire soul into the climactic solo, but we’re saying it anyway. What a song.

2017: Ijigen kara no Houkou (異次元からの咆哮; Roar From Another Dimension)

The Choice: “Kyomu no Koe (虚無の声; Voice of Nothing)”

The Reason: The opening passages of “Kyomu no Koe” – all friendly and serene and peaceful – are an absolute deke. In no time flat this tune turns into a burst of chugging heft and riffs. It also gets just a little mean, which is something that doesn’t show up too often for Ningen Isu. Or maybe it’s just that the swaggeriffic bridge riff is so determined to rock your socks off that it won’t let anything get in its way (great countering bass from Suzuki here as well). The riffs pound, the fun solo rips, and the finish crashes. An absolute headbanger.

2019: Shin Seinen (新青年; New Youth)

The Choice: “Yaneura no Sanposha (屋根裏の散歩者; Watcher in the Attic)”

The Reason: If the eerie, rather alarming start of “Yaneura no Sanposha” has a purpose, it’s to tell you to pay goddamn attention to this wicked great song. Why, you ask? Because it contains one of the band’s greatest vocal performances, that’s why. From the plodding verse through to the triumphant, soaring chorus and quieter, more textured bridge, there’s a beautiful near-croon happening here, full of vibrato and charisma. Sure, the riffs and obligatory killer guitar solo threaten to steal the spotlight a little from the voice, but make no mistake about it: this is one for the singers.

2021: Kuraku (苦楽; Pain And Comfort)

The Choice: “Toshishun (杜子春)”

The Reason: “Toshishun,” the opener of Kuraku, seems designed to prove that no matter how comfortable the band is in their style(s), and how absolutely in a groove they are as a unit, they’re still out there mixing it up a little. Not risks exactly, but a little spice, largely in the form of a folksy/neo-psychedelic intro that shades much of what follows, no matter how much doom-strut it gains (which is plenty). And even though it has that serene start, there’s an intensity and sense of importance to the song, particularly in the classic metal riffage of the pre-chorus. And how about that coda? Why not toss in a solo section over what almost resembles a march, complete with an explosive finish? Why not indeed.

2023: Shikisoku Zekuu (色即是空; Matter is Void)

The Choice: “Uchuu Dengekitai (宇宙電撃隊; Space Blizkrieg Squadron)”

The Reason: If you’ve made it this far, bless you. Hopefully you’ve had a good time. We end with “Uchuu Dengekitai,” an absolutely riotous rocker that has it all: big thrashy verses, lots of “OOOOH OOOOH OOOOOHHHHH!” action, a killer solo, some timely theremin action, and of course that chorus. The chorus of “Uchuu Dengekitai” is one of those “try to resist this” kind of song passages, as infectious as anything in the Ningen Isu catalog but unique to this song. Are they singing “FUN, FUN, FUN-FUN” or something else? Frankly I can’t tell and I don’t care, because the result is “FUN, FUN, FUN-FUN” regardless. It’s a mid-album track, but because it feels so climactic, you almost want to pause the record to process it a little before moving on. This is the kind of song you imagine Ningen Isu using to close out sets, so it’s a fitting finish to this (long) playlist.

BONUS CONTENT

Since you got this far, I’ll do you a solid and recommend a couple albums, if that’s how you’d prefer to dive into this intimidating discography:

On the left is 1992’s Ougon no Yoake (黄金の夜明け; Golden Dawn). As stated above, this was probably Ningen Isu’s first fully great record, in part because their songwriting was really maturing, but also because they were really embracing how expansive and trippy their sound could be at this time. Expansive, sure, but what rules about it is how absolutely punchy and knotty it can be as well, like Led Zeppelin in their proggier moments, making for some really great contrasts.

The other selection, on the right, came way later in 2016. Ningen Isu doesn’t have a bad record, but they’ve been on a particular tear in the latter half of their career, generally sporting a thicker, heavier sound now than they did on their earlier albums. Being made up of wall to wall bangers, Kaidan Soshite Shi to Eros (怪談 そして死とエロス; Ghost Stories And Eros And Thanatos) is as good a pick as any from this era. Despite being nearly an hour long, you’ll have no problem making it to the magnificent closer featured above.

End of bonus content.

And end of article. Happy first day of summer. Celebrate the sunshine by getting to know this wicked cool band.

Posted by Zach Duvall

Last Rites Co-Owner; Senior Editor; Obnoxious overuser of baseball metaphors.

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