Jesus Christ. Abandon all hope, all ye who enter here, because Otoboke Beaver sure as hell aren’t taking any prisoners. If your only exposure to Japanese punk are recent (fully deserving) global darlings CHAI, you are in for a shock. While that feminist (a label Beaver dismiss with annoyance) foursome takes pride, and finds joy, in subverting expectations of the genre into something both bold and accessible to all comers, the ladies of Otoboke Beaver have no goddamn interest in any such thing.

Itekoma Hits, the band’s first full-length LP, and by far most visible release to date, has no time for your bullshit, and zero time to waste. Clocking in at just 26 minutes and 36 seconds, the album makes use of every second of time afforded. The Kyoto-based band come for your jugular, tear it out, and keep right on playing as you suffocate from your own blood.

Alright, so there’s been a lot of intense hyperbole in this write up, but spend just 18 seconds — all it takes for the band to fire off the album’s first track — and you will no doubt understand just why I’m being so emphatic.

The band’s success in finding a place on the world stage no doubt owes partial to credit to the determined work of their impassioned team, Damnably. The British indie establishment has become something of a haven for ambitious, creative Asian acts, with Korean bands Say Sue Me and Drinking Boys & Girls Choir also having come to call the label home. While all three bands seem to have become fast friends (if ecstatically wholesome tour photos are any sign), Otoboke Beaver are worlds away from the earnest surf rock of Say Sue Me, sharing far more in common with the no fucks to give punks of DBGC.

Yet, while the promising, fledgling Korean punk rockers prefer to write songs of drinking and youthful abandon, Beaver are more pointed with their brand of high octane entertainment, their minds set on vengeance and eradicating the fabricated shelter of love. Still, there’s far more on the band’s mind than amore, with even more loathing displayed towards the confines of existence in modern Japan. ‘6 day work week is a pain’ states its opinions with its title alone (as Otoboke Beaver’s song often do), the band railing against the standardized suffering of office work, with no love for the patriarchy running it. Feminist or not, there’s power here, instantly visible even in the glowering, dominant expression of the band on the album cover.

Truthfully, there’s nothing that better represents Itekoma Hits, and Otoboke Beaver at large, than the album’s final seconds. As ‘Don’t Light My Fire’ burns itself to the ground, the pummel of guitars and drums that lords over the record finally let up, as the band gleefully whisper, “go to hell”, only for even that to give way to a final, single, shouted, “GO TO HELL!” It comes out in such a rush that the band manage to catch you off guard, again, even following all the rule-breaking rage that came before it. Otoboke Beaver may not care for (or, frankly, my dear, give a damn about) the labels being slung their way, but for those of us who missed riot grrrl at its true peak, especially coming from a country known for its reserve and concern for presentation, it’s not too hard to imagine that this may have been what it felt like.