Once an underground secret of Japan’s indie rock scene, Mass of the Fermenting Dregs have overcome breakups and reinvention to become one of the genre’s most electrifying exports. Now, their upcoming European tour promises to spread their explosive sound to an even wider audience.
When Mass of the Fermenting Dregs step on stage, the first impression is one of sheer force. The music is loud, abrasive, and unrelenting, yet layered with melodies that linger long after the amplifiers fall silent. For over two decades, the band, born in Kobe in 2002, has been a defining presence in Japan’s indie rock scene, known for their cathartic live performances and the singular drive of bassist and vocalist Natsuko Miyamoto. Today, with a new European tour underway, Mass of the Fermenting Dregs (or simply MASS OF to their fans) are finally gaining international recognition that once seemed out of reach.
A turbulent journey from Kobe
The story of the band begins with three young musicians in Kobe: Miyamoto on bass and vocals, Chiemi Ishimoto on guitar, and Reiko Gotoh on drums. They all wanted to push the boundaries of Japanese rock. At the time, Japan’s indie landscape was thriving with experimentation. Noise rock from Osaka, post-rock collectives in Tokyo, and countless DIY venues where bands could hone their craft. Mass of the Fermenting Dregs quickly distinguished themselves with their combination of ferocious riffs, unpolished emotion, and surprisingly catchy hooks.
Their early EPs, released on independent labels, captured the rawness of their live energy. But it was the self-titled album Mass of the Fermenting Dregs (2008) that brought them wider attention. Songs like I F A Surfer and Kiseki revealed a band that could be both thunderous and melodic, balancing the intensity of post-hardcore with shoegaze’s swirling atmospherics.
Yet success was not without setbacks. By the early 2010s, internal tensions and personal struggles led to members leaving. At one point, the very future of the band was uncertain. For fans, it seemed like Mass of the Fermenting Dregs might disappear, remembered only as a cult act of the late 2000s indie boom.
But Miyamoto refused to let the project die. Rebuilding the line-up with new collaborators, she re-emerged with renewed determination. The comeback was gradual, fuelled by small shows, new recordings, and the loyalty of fans who never stopped believing in the band’s raw honesty.
The sound that endures
Part of what makes Mass of the Fermenting Dregs stand out is their ability to create music that feels both visceral and deeply emotional. The bass-driven power of Miyamoto’s lines, paired with distorted guitar textures, results in a sound that is at once aggressive and strangely uplifting.
Music critics often compare their style to Western bands like Sonic Youth, My Bloody Valentine, or even early Foo Fighters, but these comparisons never quite capture the unique mix that the Dregs embody. Their lyrics, sung in Japanese, carry themes of longing, resilience, and fleeting beauty. Even for international audiences who may not understand every word, the emotional weight comes through in Miyamoto’s delivery.
For many fans, the experience of seeing Mass of the Fermenting Dregs live is transformative. The energy of the performance, the physicality of the sound, and Miyamoto’s commanding presence create a connection that transcends language. This explains why, despite their songs being deeply rooted in Japanese sensibilities, the band has found eager listeners around the world.
A bridge to the international stage
In the past decade, the globalisation of music consumption has radically changed the possibilities for bands like Mass of the Fermenting Dregs. Streaming platforms such as Spotify and YouTube, along with niche music blogs and fan-run communities, have given international exposure to artists who once relied solely on domestic tours.
For MASS OF, this meant that listeners in Europe and North America could stumble upon their catalogue, fall in love, and spread the word. A generation of fans discovered the band through playlists of Japanese indie rock, or through live footage uploaded by enthusiasts. Gradually, what had been an underground following grew into an international base of listeners hungry for more.
Also, in recent months, their song Aoi, Koi Daidaiiro no Hi, one of the main hits from their 2009 album World Is Yours, has been trending on TikTok, sparking a wave of excitement. Countless fan-made edits (short clips that pair visuals with music) feature the track, giving younger generations a fresh way to discover the band and connect with their sound. (Examples: TikTok 1, TikTok 2)
This momentum has now culminated in a new chapter: the band’s 2025 European tour. With dates across France, Germany, Poland, the Netherlands, and other countries, the tour represents not just a logistical achievement but also a cultural milestone. For many fans, it is the first chance to see a group they have admired from afar, often for years.
For European fans, the upcoming concerts are more than just shows: they are long-awaited encounters, and the excitement is palpable. Mia, a 23-year-old swiss student who discovered the group one year ago, shared her anticipation in heartfelt words: “I discovered them thanks to a friend who recommended their album World Is Yours, and I haven’t been able to stop listening to it since. Every one of their songs carries a touch of nostalgia that I crave. I had never found anything like it before. I am going to their concert in Zurich on the 31st of October and I couldn’t be happier.”
The cultural significance
What makes this tour particularly meaningful is its role as a cultural bridge. Japanese indie music has long been celebrated domestically, with thriving local scenes in cities like Tokyo, Osaka, and Kobe. Yet breaking into Western consciousness has been challenging, partly due to language barriers and partly due to limited opportunities for international touring.
Mass of the Fermenting Dregs are not the first Japanese indie band to tour abroad, but their trajectory highlights how global music consumption has shifted. Unlike major J-pop acts, whose international expansion often relies on corporate backing, MASS OF have reached this point through grassroots fan enthusiasm and the persistence of an artist unwilling to compromise her vision.
By bringing their music directly to European audiences, the band is not only sharing their sound but also offering a glimpse into the wider cultural and artistic ecosystem of Japanese underground rock.
Looking ahead
As the tour unfolds, the question is not whether Mass of the Fermenting Dregs will make an impact (they already have) but how far their influence can spread. The combination of devoted fan support, critical recognition, and the undeniable power of their live performances suggests that this is only the beginning of their international story.
For Miyamoto, who has carried the band through its most difficult years, the sight of European audiences singing along, moshing, and cheering is surely a vindication. During an interview with Electric Bloom Webzine 3 years ago, Natsuko Miyamoto expressed her deep passion for connecting with others through music, saying, “I love live performances! I love people! Basically, I don’t want to create something by myself, I want to make music based on what I feel by interacting with people.”
From setbacks to a global stage
Mass of the Fermenting Dregs embody what it means to survive and evolve in the music industry without losing authenticity. Their path has been turbulent, marked by line-up changes, uncertainty, and a long road back to the stage. Yet their resilience, combined with an ever-expanding international fan base, has made them one of the most exciting Japanese indie bands to watch.
For fans preparing to see them live this fall, the anticipation is more than justified. The concerts promise not only a chance to experience the band’s legendary intensity but also to witness a cultural moment: Japanese indie rock breaking through new boundaries.
Mass of the Fermenting Dregs 2025 Europe Tour Dates
Saturday 4 October, 2025: Concorde 2 – Brighton, United Kingdom
Sunday 5 October, 2025: Rescue Rooms – Nottingham, United Kingdom
Monday 6 October, 2025: Hare & Hounds – Birmingham, United Kingdom
Tuesday 7 October, 2025: Belgrave Music Hall – Leeds, United Kingdom
Thursday 9 October, 2025: La Belle Angele – Edinburgh, United Kingdom
Friday 10 October, 2025: Oran Mor – Glasgow, United Kingdom
Saturday 11 October, 2025: New Century Hall – Manchester, United Kingdom
Monday 13 October, 2025: Clwb Ifor Bach – Cardiff, United Kingdom
Tuesday 14 October, 2025: The Fleece – Bristol, United Kingdom
Wednesday 15 October, 2025: Electric Ballroom – London , United Kingdom
Friday 17 October, 2025: La Maroquinerie – Paris, France
Saturday 18 October, 2025: Botanique – Brussels, Belgium
Monday 20 October, 2025: Tolhuistuin – Amsterdam, Netherlands
Wednesday 22 October, 2025: Vega – Copenhagen, Denmark
Friday 24 October, 2025: Neue Zukunft – Berlin, German
Saturday 25 October, 2025: Cafe V Lese – Prague, Czech Republic
Sunday 26 October, 2025: Proxima – Warsaw, Poland
Tuesday 28 October, 2025: Akvarium – Budapest, Hungary
Wednesday 29 October, 2025: Flucc – Vienna, Austria
Friday 31 October, 2025: Exil – Zürich, Switzerland
Saturday 1 November, 2025: Circolo Mangnolia – Milan, Italy
Sunday 2 November, 2025: Largo – Rome, Italy
Tuesday 4 November, 2025: IF Performance Hall – Istanbul, Turkey
