DODDODO’s power is mysterious, almost shamanistic and channeled through old school hip-hop. The rage she lets rip on stage is neither conscious nor thought out, just a desire to explode. And if she is part of a school, it's the punk and psychedelia of Osaka that lays first claim, the city raising her profile on a cyclical basis. You'd also have to mention Boredoms, as well as Pavement, but DODDODO is constantly evolving and builds on her influences in real time.
A close friend of Baiyon, Maruosa, DJ Mighty Mars, Oshiri PenPenz and Afrirampo, who she comes together with occasionally (in the groups Fantaji Nakama and HanHan Neko Musume), DODDODO is a solo project born out of a fierce desire to "do" music that made itself felt around the beginning of the nineties. She writes her melodies on a keyboard before bringing in the samples, which works as kind of a rhythmical axis, and skillfully digs out material on various bought or borrowed CDs. She only started singing much later, one evening in 2006, when she was cycling home and humming along to the tunes she'd been playing that day.
Although you can hear ethnic sounds in DODDODO's music, there's no particular conceptualization behind this. Where she's at is pure sensation. DODDODO does what she wants. As effective as a right hook, her music can lay flat an entire audience. She's not weighed down by particular styles or hampered by references. She's no show-off, either. DODDODO's music is direct, sometimes slightly absurd, hip-hop as if by accident and then a sort of furious spurt.
