Edmonton, Canada’s Beaver Fever, the solo grindcore project from Tsunami Nagasaki (BadxMouth), recently finished up a Japanese tour – four dates featuring a number of different bands from Japan, Thailand, South Korea and Finland. Each show featured a different lineup with bands from different countries in addition to the Japanese bands, including: Apologist, Another Dimension, Zombie Ritual, B.M.C, Corbata, Savage Deity, Intestine Baalism, Terror Cross, Anatomia, Deadly Spawn, Caassimolar, Necrophile, Kaos, Korose, Motiveless, O.U.T., and Koldblvds.
Beaver Fever was created during the pandemic when Nagasaki found there was ample time to write and record songs during that period of lockdowns. She started learning about using DAW systems and the recording process, as well as learning how to program drums. The result was ferocious noise/grind which has caught the attention of overseas promoters, taking her to the US, Japan and next year, the Czech Republic. To date, Beaver Fever has released two EPs with a few splits here and there.
I catch up with Nagasaki to speak about the tour, playing as a solo artist, the differences between the crowds in different countries, and her upcoming appearance at the Obscene Extreme Festival in 2024.
Could you speak a little little about your recent Japanese tour?
Travelling internationally overseas for the first time with my one piece band, in a country where do not speak the language, or had previously toured in, was exhilarating. To be honest, learning the different ways they approach booking a band, or the process of sound check, which they schedule as dress rehearsals, the amount of information to process and navigate with the language barrier was an adventure to undertake. Each venue had a different vibe. There were so many bands with so many members. Initially, at the start of every evening we’d have a sort of formal introduction, but honestly, everyone mostly just sat in the merch area in between every bands sets and then proceeded to the stage area once the next band had started.
You have done splits with bands like Torciless (Italy) and Habacuque (Brazil) and most recently Teniamos Un Nombre (Colombia/Japan). During this Japanese tour, do you foresee team ups with any of the bands you’ve played with?
I had proposed initially for the Sapporo show if a vs. set with another solo band would be possible. The promoter at that venue had mentioned the next time I am there he may be able to set something up with another solo artist living in that region as she was overseas on tour at the time of my tour.
You play solo, with just a drum machine. I’ve known a few musicians who do this, like Putrid Pile, Impure Injection from China and Needle Contaminated Pork from Japan. Does going solo make it easier to travel and perform abroad?
Being solo has its positives and negatives. The freedom to do whatever I want whenever I want is really amazing. I play guitar and sing live on stage and program a looper pedal with the pre-recorded bass lines and drum tracks, the learning process of playing solo vs playing in a live band is completely different. Playing with a full band, no matter what you can feel the kick of the bass drum on the stage, vs having my looper pedal run through the PA system, it’s a different experience, sound and feedback in every venue. I’ve found the solution is in ear monitors to keep the consistency of what I hear regulated during each performance.
What method or routine do you have in writing songs? Does it start with a title, a drum machine beat or a riff?
Initially, I started composing primarily from guitar riffs, as I got deeper into the writing, and deeper into isolation and the madness in my mind, I had the idea that starting on bass or drums would bring different inspirations to keep ideas fresh and not regurgitations of previous songs. Currently it’s a mix of whatever instrumental adventure I feel like. It keeps things interesting to make guitar riffs to pre-programmed drums or create a song from a bass line – it brings me different perspectives and appreciation for each component.
Have you known someone who contracted giardiasis (beaver fever)? The symptoms seem awful…
I have never met anyone who had contracted giardiasis, however after my first mini tour in Quebec, upon my return I took my dog to the emergency vet and he had beaver fever (I let him run off leash daily), it was a pain to deal with but I couldn’t stop laughing. It was like a good omen somehow.
I’d like to know how you can compare playing in places like Japan, Canada and the US and even the crowd response/reception of Beaver Fever in these different places.
Every country is a different experience, culture and atmosphere. I see this while other bands are performing. Honestly, when I’m performing I try as much as possible to focus inwards and not so much on the outside world, and that’s also why I’m not dressing up so much like I had in previous full bands. When I achieve this I find my shows are more lively because its just me inside my head jumping around like an idiot having a great party inside my head. Because I’m solo it’s a lot more intimidating – my back line (my imaginary band) is a robot so therefore flawless. Then after my show, if at least one person had enjoyed it that makes me happy. Whether performing for 20 people or 200 people I try my best to have my party inside my head. As for the response, I’ve had many people tell me my set was fast and punchy, or how they were impressed about the courage it takes to be up on stage alone.
You provided the song “Organ Hunter” for the Sick Musik to Your Guts vol 4. compilation. I have spoken with these guys lots and appreciate their focus on brutal music worldwide, which culminated in their Sick Dog Fest online festival. How did you get involved?
I appreciated the music on vol.1-3 of Sick Musik to Your Guts, and thought it would be nice to try to be part of this compilation and therefore submitted the song “Organ Hunter” via email correspondence. They accepted my submission and it was a big moment for me.
Female-led grindcore is notable in Japan, with bands like Sete Star Sept (and Anti Itch Cream), Melt-Banana and Flagitious Idiosyncrasy in the Dilapidation. I feel as if Beaver Fever somewhat resembles Sete Star Sept’s presentation. Were you influenced by these bands?
I have huge respect for all the Japanese female-led grindcore bands, they are my heroes! As for other grind/noise bands that I frequently listen to, I love Insect Warfare, Terrorizer, Repulsion, Flesh Parade and Nasum to name a few. There’s so much out there that it would be impossible to name them all.
What are you striving towards with Beaver Fever?
For Beaver Fever in terms of goals – playing in different countries, meeting cool people, seeing the different cultures and scenes and having adventures around the world is my dream.
I’ve always felt like the performing at the Obscene Extreme Festival was the crowning achievement for a grind band. You were just announced to be on next year’s festival. What do you look forward to there?
Yes, my submission for application for OEF was approved! I look forward to this different breed of insanity. I am so super excited to enter this madness.
Because it’s the festival’s 25th anniversary, there are so many bands I’m excited to see, and see again! Definitely Melt Banana, Autopsy, Birdflesh, Cripple Bastards, Dying Fetus, Gutalax, Immolation, Wolf Brigade. Actually, going through the band list I want to see them all!
As a message to all, Lets enjoy this crazy time!
