The music instruction book Dictionary of Bass Grooves lists over thirty genres of bass playing techniques. The book includes lessons for Country Rock, Motown, Reggae, Punk Rock and more. But no one genre can adequately describe the unique hybrid bass styles of MISA of BAND-MAID and of “F Chopper Koga” (Michiko Koga) of the bands Gacharic Spin and DOLL$BOXX.

The most appropriate description of their virtuoso approaches may be “progressive metal jazz funk.” An alternative description might be “alternative punk rock fusion.” It doesn’t matter what you call it; you get the point. These versatile players are two of the most exciting and creative bassists in the world. And what binds MISA and Koga together is their hypnotically funky approaches to hard rock.

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MISA is the bass player for BAND-MAID, the “impossibly hard rocking maid band” that is currently well on the way to achieving its goal of world domination. BAND-MAID has gorgeous ballads in its repertoire, but its primary mode is no-holds-barred aggression. The 2021 BAND-MAID album Unseen World is as brutal yet coherent a vision of the world – albeit a wildly different vision – as Bob Dylan’s Blood On the Tracks.

Koga is best known as the bassist in Gacharic Spin, a hard-to-pin-down band whose musical style is a powerful and upbeat power/rap/dance/rock. The most recent album, Gold Dash (2020), is a masterpiece in its genre, even if the genre has only Gacharic Spin as a member.

「2」

Koga also plays with the other three core members of Gacharic Spin in the supergroup DOLL$BOXX, whose vocalist is your metal goddess (and mine) Tenge Fuyuki (Fuki), the transcendent vocalist of Unlucky Morpheus. DOLL$BOXX play a much more dramatic and driving hard rock, in which Gacharic Spin trade its normally buoyant major keys for the apprehensive minor modes that characterize heavy metal. DOLL$BOXX represent something of a midpoint between Gacharic Spin and Unlucky Morpheus.

Koga and MISA inhabit the same general quadrant of the rock universe, even though their bands are not particularly alike. What does link the two is their virtuoso approach to the bass. Following in the footsteps of creative players like the Who’s John Entwistle and Primus’ Les Claypool, MISA and Koga have the uncanny ability to draw the listener’s ear to what the bass player is doing . To hell with the singer or guitarist.

And that is no small feat for players of the most overlooked and undervalued instrument in a rock band.

「3」

The bass is an extraordinarily difficult instrument to play. The strings are ridiculously thick, the scale length is absurdly long, and the frets are much, much further apart than those of a guitar.

Compare these two professional level instruments: The first is a PRS Custom 24 guitar (made in the USA), which is similar to Kanami of BAND-MAID’s guitar. The scale length is 25 inches (63.5 cm). It weighs 7.0 lbs (3.17 kg). The second instrument is an E-II Stream SL-5 bass (MAID IN JAPAN, pun intended), which is similar to the bass guitar played by Sawa of Aldious. The scale length is 35 inches (88.9 cm). It weighs 10.7 lbs (4.9 kg). For the mathematically challenged, I will clarify: the scale length of the bass is 10 full inches (25.4 cm), or 40%, longer than that of the guitar. That is a lot of territory to manage. The weight of the bass is 3.7 pounds (1.7 kg), or 52% , more than the guitar’s weight. That is a lot to carry strapped around your neck, especially throughout a two plus hour live performance.

Koga and MISA both play five-string basses. It is possible that they have specially-made lightweight instruments. But the density of the wood makes a difference to the quality of the sound, so probably not. At any rate, it is rare for any five-string bass to be less than nine pounds.

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Worse, the male-dominated rock world of the 20^th century had the despicable tendency to denigrate women bass players, particularly those in punk bands. There are too many stories like the Talking Heads’ “we couldn’t find a bass player, so we asked the girlfriend of the drummer to learn to play bass.” David Byrne, a curmudgeonly and cranky egomaniac if ever there was one, did women bassists no favors when he forced Tina Weymouth to re-audition for the band – after they had already released a hit album and achieved mainstream success. Even then, he insisted on adding funk legend Busta “Cherry” Jones to Talking Heads’ live shows in the early 1980s. What a jerk.

But bass players have never gotten enough credit for their contributions. The legendary Carol Kaye, now 85 years old, toiled in obscurity for many years as a member of the crack session band “The Wrecking Crew.” Starting out as a talented bebop guitarist before switching to bass, her studio work included playing bass for acts as diverse as Richie Valens, the Beach Boys and Frank Zappa. But it was not until many years later that the world acknowledged this remarkable woman.

「5」

Koga and MISA have very different playing styles. On the DOLL$BOXX high $pec High Return performance DVD, Koga appears to be primarily playing with her fingers. In traditional finger style, the bass player uses alternating strokes of the index and middle fingers to keep the beat. This style gives the bassist immense freedom to switch between those beat-keeping strokes and “slap and pop” bass ornamentations which are often heard in funk music.

In slap and pop, the bassist uses the thumb to slap the lower strings and the index or middle finger to pop the higher strings. This alternation of the thumb and finger is also conducive to the octave beats often heard in disco music. A good example of the octave technique is the pre-chorus of the Gacharic Spin pop thriller “Shaki Shaki Shite!!”

Despite her dexterity playing finger style, Koga seems to primarily use a plectrum (or “pick”) on recent Gacharic Spin livestreams. So what? All that means is that Koga adapts her playing style to the music. The primary question is what drives her artistic choices?

「6」

MISA appears to primarily use a plectrum in live performance. She has stated in interviews that the percussive nature of a plectrum results in a sound that is more appropriate for BAND-MAID’s aggressive repertoire. She does of course occasionally play finger style when that method is more appropriate. Again, it would be very interesting to understand her thought process.

Like Koga, MISA is an extraordinary practitioner of the slap and pop style. The speed with which MISA shifts from using the pick to slap and pop is truly impressive. Some players throw the pick to the stage floor and then grab a new pick from the mic stand once they are finished with the last pop. MISA’s preferred technique is to shift the pick to the base of her thumb with her index finger. She then slaps with the thumb and pops with her middle finger – I repeat, her middle finger – instead of the index finger. When she finishes the slap and pop section, she quickly brings the pick back up to its normal position. In interviews, MISA has said that, amazingly, she rarely uses more than two picks during a BAND-MAID “okyu-ji” despite the complexity of this playing style.

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And there is no doubt about the technical credentials of MISA. She is a graduate of the Tokyo Music School, one of the most prestigious music schools in the world. If you have heard of the Berklee College of Music in Boston, Massachusetts, then you will understand how impressive that credential is.

But what kind of role does someone with the technical skills of MISA play in a band? Well, that depends. In recent interviews, the band has indicated that during the recording of Unseen World, MISA was asked to play with more restraint. Okay. That is certainly understandable when you consider the fact that a band often aims to express a particular artistic vision when recording an album. In the case of Unseen World, that vision seems to have been presenting an overwhelmingly aggressive, albeit chaotic, view of the planet.

Don’t misunderstand. MISA has her stand-out moments on Unseen World. Fans don’t need to be told about the sensational funky bass solo after vocalist Saiki’s epic “get down!” in the absolutely stunning “NO GOD.” Nor do they need to be told how MISA keeps the insanely fast “H-G-K” under control while the other members of the band (the always spectacular singer Saiki, the genius sensei Kanami, the maniacal drummer Akane, and the absolutely perfect master of ceremonies Miku) are collectively on the verge of dancing off the rim of the volcano.

「8」

But that instruction to “lay back” does raise questions. It is true that the relentlessly driving rhythms of Unseen World leave little room for flash. Nevertheless, it is interesting to compare the studio performances to the live performances from the February 11, 2021 “okyu-ji.” (This “okyu-ji” will be released on DVD and Blu-ray in May, 2021, so fans will be able to see the examples cited).

The song “Black Hole” is notorious among Maidiacs for being the fastest song ever recorded by BAND-MAID. It clocks in at a blisteringly fast 220 beats per minute. On the studio recording, it can be difficult to pick MISA out of the mix. But on the live performance, one can hear how MISA alternates wildly fast picking with popping and slapping that moves over the entire fretboard.

There is an absolutely great camera shot towards the end of the first verse in which the viewer can see MISA move her pick from her “hidden” position at the base of her thumb back into playing position. She is not the only bass player who can pull this off, but one rarely gets such an intimate glimpse into the tricks employed by a magician like MISA.

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But MISA is not a show-off. She has a deep understanding of her role in the band. On the live version of “Thrill,” she knows that her job is to simply bring the thunder. Playing traditional alternating finger-style, she locks in with Akane’s 4/4 beat for almost the entirety of the song. You could set a clock by the rhythm section’s performance. The one exception on “Thrill” is her brief spotlight prior to Kanami’s guitar solo. But even then, her solo is restrained and tasteful. In a reversal of nature’s law, MISA’s subtle thunder sets the stage for the awe-inspiring lightning of Kanami’s solo.

Similarly, the bubbling undertones that she plays on the live version of “Manners” are revelatory when compared to the studio version.

Because of the speed of BAND-MAID’s songs, MISA’s playing at times has some of the characteristics of death metal, including the use of chromatics and the tritone. And while one would never confuse BAND-MAID with a salsa band, you can also occasionally hear the harmonics and 6/8 rhythms of Latin music in her playing. Perhaps that is going too far, but the bass moves in a song such as the rarely performed “Start Over” are definitely revelatory.

Finally, it is interesting to note that MISA has stated that she has used her down-time during 2020 to work on songwriting. Given the broad range of musical interests that she has expressed – from Argentina’s Paz Lenchantin of Pixies to Mexico’s Ruido Rosa – that is something to look forward to.

「10」

It does not seem likely that anyone would ever have the audacity to request Koga to “lay back.” This is a woman who is in constant motion. Even when she is locking in with the drummer to simply drive the beat, it is impossible to ignore Koga.

Koga is nevertheless something of an enigma. Her playing styles in Gacharic Spin and DOLL$BOXX seem to be completely unconnected. But her bass occupies such a prominent place in the sounds of both bands that it is impossible not to be drawn towards her.

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The problem with DOLL$BOXX is that the band is not a going-concern entity, as certified public accountants (CPAs) in the USA would say. DOLL$BOXX has only released one full album (2012’s DOLLS APARTMENT), one five-song EP (2017’s High $pec), and one live DVD (high $pec High Return) of a concert at Tokyo Dome City Hall on April 15, 2018. Because the members all have other primary gigs, DOLL$BOXX is at best a vanity project. But, holy shit, what a vanity project it is.

DOLL$BOXX is as close to metal as hard rock can get. It all depends on your own personal definition of metal. But this is funky as hell metal music. And it is funky because of Koga’s constantly swirling moves up and down the fretboard. She can easily play four-on-the-floor rock 4/4 tempos. Clear as a bell eighth notes? Of course. Rocking sixteenth notes? Hell yeah, no problem. But the funk? Other than MISA and Flea of Red Hot Chili Peppers, it is hard to think of another rock bass player who plays with this much soul.

It is also noteworthy that between the releases of DOLLS APARTMENT and High $pec, Koga acquired a five-string bass. Talk about life-changing events. Koga’s entire approach to the instrument changed. The difference between the bass playing on the studio version of a song such as “Take My Chance” and the live version is impossible to ignore. The songs are in the same key, but Koga seems to have discovered an additional level of creativity, based on the complexity of the filagree and ornamentation that she employs on stage.

「12」

If you love volcanic rock music and you don’t own high $pec High Return, you owe it to yourself to buy it. This performance is easily one of the greatest live shows of the 21^st century. This is a rare documentation of a band at the absolute height of its powers. It would be like seeing Oasis at the Paramount Theatre in New York City on March 13, 1996. Like Oasis on that night, hard on the heels of (What’s the Story) Morning Glory, DOLL$BOXX absolutely killed it on that one special night. It is truly unfortunate that the audio of the DOLL$BOXX show has never been released on streaming platforms or CD.

The entire band, but Koga in particular, are on fire from the very first ear-splitting notes of “Loud Twin Stars” to the final tightly-controlled vibrato of Fuki on”ブラックサバイバル (Black Survival).” Hana and Suzuki Reona are terrific vocalists in Gacharic Spin, but the incomparable Fuki – her voice, her stage presence, her moves – takes the performance to heights of excitement that few others could achieve.

Given the primacy of Koga’s bass to the overall sound of the performance, it seems unfair that drummer/vocalist Hana and the fire-breathing guitarist Tomo-zo get solos, but Koga does not get that spotlight. Like all bass players, Koga can happily cede the spotlight.

「13」

But Koga is always switched on. She never, ever, lets up. The truly amazing aspect of Koga’s performance is her ability to change her methods and playing styles in the same song. At the end of the show, during the songs “Karakuri Town” and “世界はきっと愛を知ってるんだ,” she clearly uses a plectrum through large sections of the songs. But she also clearly plays traditional finger style and just as clearly plays slap and pop. The editing does not give her enough camera time to see how she accomplishes this feat of magic. Her mic stand seems to have a full complement of extra picks, so it is possible that she has tricks as clever as MISA’s. But unlike MISA, Koga seems to pop with her index finger, so what does she do with that pick? Some mysteries may never be solved.

The focus on DOLL$BOXX is not intended to minimize Gacharic Spin, which, despite its wacky visual esthetic, is a truly striking band. The addition of the energetic vocalist Angie 1/3 has transformed the group’s stage persona. It is hard to believe that a teenager has the confidence to take such a prominent – and supremely confident – lead role in an established rock group. Angie 1/3, who, based on her social media seems as sweet and down to earth as one could possibly imagine, has that level of confidence.

And the addition of yuri on drums has freed the wonderful vocalist Hana to become a true frontwoman and second guitarist. So, yes, Gacharic Spin is a great rock band.

「14」

The songs of Gacharic Spin are – for the most part – major key rave-ups. There may be no better mainstream rock song in the last year than “The First Star” from Gold Dash, in which Hana achieves the apotheosis of any singer’s career – a truly unforgettable moment, or, to be fair, moments. Koga’s role is to keep the 4/4 beat. But on the verses, she plays at a higher octave than expected. Therefore, the listener cannot help but notice Koga, despite Hana’s breathtaking achievement. Then, on the chorus, Koga rolls back down to the low B and E strings. At that point, her bass suddenly becomes a roaring cannonade. This may be what the pre-dawn cannons of the British Expeditionary Force on the Somme on July 1, 1916 sounded like.

But Koga can do much more than pummel the listener. There are actually very few ballads in the oeuvre of Gacharic Spin. “Matane” from Music Battler is one example. Koga keeps her focus on the beat. But towards the end of the song, the subtle ornamentations of her bass actually enhance the intensity of the vocals.

「15」

What else should be said about F Chopper Koga and MISA?

Well, with respect to their visual personae, Koga bounces around the stage like the Energizer Bunny or Pokemon’s Spoink. There is a great moment during the October 8, 2020 livestream performance of “Juicy Beats” when Koga and Hana are face to face, playing so close to each other that their foreheads are actually touching. This high-speed collision course ends with Hana forcing Koga to back off.

That unrestrained joy of bandmates who are truly in sync with each other, who actually love each other, is yet another of the things that make Japanese rock music so special. It’s only in America that one would hear Don Felder of the Eagles, in the middle of a concert, snarl at bandmate Glenn Frey, “Only three more songs till I kick your ass, pal.”

「16」

MISA is the prototypically cool and unsmiling bass player , just like the Who’s John Entwistle. Of course, that preternatural cool completely falls apart when the antics of one of the other band members cause her to dissolve into uncontrollable laughter. Again, there is that concept of unrestrained joy.

Check out the YouTube video of the Paris 2019 performance of “Moratorium.” This video is well-known among fans because Kanami kicks one of Akane’s cymbals at the end of her insane guitar solo. But before that, there is the bizarre yet endearing sight of MISA crawling towards Kanami on her knees and then planting a kiss on Kanami’s forehead. There is a reason why the phrase “MISA! MISA! MISA!” has meaning among Maidiacs.

「17」

To make a long story short, MISA and Koga are both incredibly entertaining to watch in performance.

One last thing: At BAND-MAID’s “okyu-ji” at the Gramercy Theatre in New York City in December 2019, it looked as if MISA was not wearing shoes during the entire performance. Based on live videos, and it’s hard to tell given the length of her dress, it seems as if she NEVER wears shoes while playing on stage. What’s up with that?

「18」

Let me conclude. F Chopper Koga and MISA are two of the most interesting, creative, and fiery bass players on the planet. They are viscerally exciting players. Only listeners with certifiably healthy hearts should be allowed to listen to them.

Koga and MISA both play in bands that are aggressive and hard-rocking. It would be easy for either of them to simply thump along in 4/4 tempo. Yet both overlay elements of other genres, in particular funk, that help elevate the work of their bands.

Their solos are legendary. But the discerning listener will get more pleasure, and more musical education, by listening to what Koga and MISA are doing during verses, pre-choruses, choruses and bridges. The subtleties of their ornamentations are nothing short of awe-inspiring.  F Chopper Koga and MISA are truly great masters of their art.

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