Urusei Yatsura came together in the summer of 1993 when Graham Kemp met Fergus Lawrie while both were studying at Glasgow University, and where they bonded over their shared love of the Velvet Underground and Galaxy 500. Each persuaded the other to join an imaginary band, which, with the drink fuelled recruitment of bass player Elaine Graham became a reality. Revelling in a spirit of awkwardness the band decide to call themselves after an obscure Japanese comic Urusei Yatsura, the translation of which changes depending on who you ask and how it's been written. The band prefer "Noisy Stars". The three ricocheted around the Glasgow gigging circuit until they managed to coerce Elaine's younger brother into banging the drums for an impromptu set one night. Seven years later, the line-up remains the same.
Late in 1994 they made their first outing on vinyl by contributing a live recording of the song "Guitars are Boring" to a compilation released by the Kazoo Club (based in Glasgow's notorious 13th Note). This recording, along with their fanzine "Kitten Frenzy" brought the band to the attention of John Peel and a session followed, preceded by a six track maxi single "All Hail Urusei Yatsura". With the proceeds of the Peel session the band released a split single on their own Modern Independent Records label, "Pampered Adolescent", which they followed up with releases by some of their favourite Glasgow contemporaries. Although being in charge of their own record label was a dream shared by all of the band, lack of finances and an opportunity to work with London based Che Records persuaded them to shelve their label and fanzine for the time being and concentrate on recording for the London based label.
Through a busy 1995 the band notched up an Evening Session Single of the Week (with "Kernel") and an NME Single of the Week (with "Plastic Ashtray") then started the new year by recording their first LP "We Are Urusei Yatsura". To coincide with the May release of the album the band embarked on the first of many nationwide tours, supported by Mogwai and Backwater, and having their first brush with real fame by boarding with the original Milky Bar Kid's mother on route.
After playing the CMJ in New York they recorded their next two singles ("Fake Fur" and "Strategic Hamlets") in London at Ray Davies' KONK studio, before heading back to the States for a longer snowy winter tour.
Cue 1997 and while their single, "Strategic Hamlets", nudges the grown up charts the band faced feedback noise disaster as all their guitars are stolen from their van after a gig in Liverpool. After looking into the gaping maw of the 'a capella' circuit they are saved by donations of cheap charity shop guitars from fans and are able to complete their tour with label mates Superstar Disco Club, before rushing straight back into KONK to record their second album, "Slain by Urusei Yatsura". During these recordings, which included the chart bound "Hello Tiger", Che Records encountered their first problems licensing to a major label resulting in the album release being delayed for almost a year.
Far from being idle Urusei spent a surreal summer surviving a series of near death experiences as they played festivals around Britain and Europe, Ian surviving a tent fire at Phoenix to play a 'smoking' gig and the whole band narrowly avoiding being crushed by a collapsing roof while on stage at a Spanish festival. They ended the year supporting the Super Furry Animals and playing a bizarre set of gigs in the former East Germany.
As January 1998 swung into view, "Hello Tiger" was chalked up for release and in February Urusei scored their biggest hit to date. Number 40 in the proper charts. In March "Slain by..." finally made it to the shops and was warmly received by a bevy of critics who took it to their hearts. The group set off on another UK tour, this time accompanied by Magoo and Prolapse before undertaking their first major tour across Europe. On arriving back in the UK the "Slain by Elf" single was released and ended up selling even more than "Hello Tiger". The band spent a low key summer writing what was to become "Everybody Loves...", with only short breaks to play the Reading Festival and to support Garbage at the Glasgow Barrowlands.
It was only a spit away from Christmas and the band settled down to write and record again. US Producer Bryce Goggins made contact with the band, expressing his desire to work with them after hearing them on a B-side compilation album. With roughly twenty songs on demo, Bryce flew into Glasgow and headed to CaVa studios to start recording. Unfortunately while the recording was going great their record label went bust leaving them with a 18 month legal wrangle which won them ownership of the recordings and the right to release them themselves.
While in the process of setting up their own label, the "Yon Kyoko Iri EP" was released on Beggars Banquet in November 1999 before finally achieving their dream with the forming of Oni Records in March 2000. The first output from this label will be the bands' new single "Louche 33" on 21st August 2000 with their 3rd album "Everybody Loves Urusei Yatsura" following close behind on 4th September 2000.
The single 'Eastern Youth', which was the bands final ever single, was released in the early winter months of 2001.
perdidos entre fanzines e referências musicais dos pavement,
apareceram.me estes demónios do pop. na mesma altura que devorava drop nineteens (ainda não é hoje).
3 discos e uma porrada de singles.
felizes, divertidos, com os seus camioezinhos de plástico, guitaras da tanga roubadas de um gajo qualquer.
soam àquilo que mais queríamos, uma banda do c.......
mãos na algibeira com o jornal a sair do bolso de trás das calças e plastic ashtray.
we love urusei yatsura... ainda hoje
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