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Doom Metal | Artist Spotlight
December 9, 2011
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Artist Spotlight: Boris

by Mike McGuirk

Because their records weren't always available in the U.S., and there weren't a whole lot of people playing the drone/doom/stoner metal they'd allegedly mastered, for years Boris were these mysterious Japanese dudes (and dudette!) so cool they named their band after a Melvins song (off  Bullhead) and put out records that consisted of one hour-long track, records so cool that you only heard about them from the very biggest metal dorks. 

Formed in 1996, the band has released more than 20 albums, including a half-dozen different collaborations, most notably with Japanese noise-messiah Merzbow and American hipster-drone kings Sunn0))), that are mostly still unavailable in this country. Their first and third albums,  Absolutego and Flood, are in fact single-track hour-long deals that are both awesome and, of course, not available for streaming. But the band has continually moved far beyond the borders of any one genre, into noise, garage rock, punk, straight stoner rock and even radio-friendly emo-metal. Nor is it a linear progression: They'll follow up an unadulterated pop record with a crashing freakout with Merzbow, then go back to playing breathy Radiohead tunes. Then more heaviness. It's weird, and it's gone on for years.

For a band that so tirelessly prolific -- they put out three albums in 2011 alone, including two on the same day -- this has made for some super pop-y moments that, when you put them against the ultra-heavy psychedelic-drone stuff, gets downright confusing. It's obvious that they're not trying to cash in -- if that were the case, they'd pick a genre. Maybe they're exploring the various possibilities of music or something. That's crazy.

Anyway, for folks unfamiliar with this band but intrigued by their approach to music, we've compiled the records they've made available digitally below.

Albums
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Altar
Sunn O)))/Boris
A collaboration between these two experimental doom metal bands, Altar also features Thrones' Joe Preston, Soundgarden guitarist Kim Thayil and members of Jesse Sykes and the Sweet Hereafter. The first song, "Etna," absolutely trudges with all the slo-metal crush of a glacier boring out of the Grand Canyon millions of years ago. All six cuts find both Boris and Sunn O))) meeting each other's potential, and it's great to hear Sunn O))) with drums. Thayil turns last song "Blood Swamp" into a drone metal version of Floyd's "Echoes."
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Bullhead
Melvins
Their fourth album, and the first to feature the plodding, superlong songs they were to become known for, Bullhead remains a defining moment for the Melvins, grunge and stoner metal all at once. The avant-metal Japanese band Boris took their name from the impossibly perfect opening cut on this album, and there are few moments where the listener is given even a second to relax. This is the sound of pothead kids taking Black Sabbath to extremes never even thought of before. Thank God for the Melvins.
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Attention Please
Boris
Probably the least aggressive, most atmospheric music these Japanese iconoclasts have coughed up, Attention Please is mainly a vehicle for the sleepy, breathy, Bjork-y murmuring of guitarist Wata. She's always in the forefront, variously mixed atop billowing trance-tronics (title cut), flushed-toilet machine swirls ("See You Next Week") and reverberating lounge pulsations ("You"). Even the guitars tend toward shoegaze metal, though "Tokyo Wonder Land" punctuates its relaxation session with buzzsaw noise spurts and "Les Paul Custom '86" gets some blurry glam-punk gurgle going
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Boris
On their 10th album since forming in 1996, Boris hopscotches from their signature drone metal to blistering, Bulb Records-era King Brothers-brand garage rock to Monster Magnet-friendly stoner rock and back. Whatever they're choosing to play, it's loud, loud, loud, which is always a good thing. Sabbath and Melvins remain close to their hearts and the guitars sound totally topped out (read: awesome) at all times.
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New Album
Boris
Ping-ponging between extremes has become common for these prolific Japanese experimentalists, and with New Album they return to the style they themselves have called "selling out." Whether Boris are really selling out is unclear. It's hard to imagine the melodic songs and alternately emo-fied and breathy vocals on here appealing to anyone besides 13-year-old Japanese mall rats. That said, there are a million things going on underneath the sheen, and the overall feel is psychedelic. You're going to want headphones for "Luna."
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Heavy Rocks (2011)
Boris
Not to be confused with either Boris' 2002 album with the same title or their Attention Please album released on the same 2011 day, this slab o' sludge opens with a lowdown monster-riffed downer-pounder called "Riot Sugar," then oozes from there: Sabbath chords wed to hardcore hoots and hollers, mournful funeral croons exploding rocketship-like into the stratosphere, modernized drag-race rock slowing to a standstill under kitschy "doo doo doo"s, maddeningly sluggish plod-metal disintegrating into the Radiohead ozone. To close, "Czechoslovakia" accelerates from classic doom to murderous thrash.
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Amplifier Worship
Boris
Premier Japanese metal/noise/experimentation experts (and as of 2008's Smile, self-described "sellouts"), Boris forever set the bar for stoner/doom with this 2003 release. So into the Melvins that they named their band after a song on Bullhead, these masters of trance-induction-by-tube-amp have over 14 releases, all of which are worth listening to at least once, preferably with the lights off and the volume on 10. Amplifier Worship is a cornerstone of their body of work and is strangely digestible, given that the shortest cut on it is over seven minutes long.
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Rock Dream
Boris
Twenty-three minutes into the first track of Rock Dreams, the real sonic bludgeoning begins. The rising action of "Feedbacker" is meditative and enchanting -- an invocation, intoned at the pace of advancing glaciers, to the aural firebombing that ensued during this live performance captured at Tokyo's Earthdom festival in 2006. Merzbow adds tasteful, even understated (for him), electronic elements throughout the set, especially "Evil Stack," and becomes like a fourth member of the band. "Rainbow" is a nod to the narcotic psych rock of the 1960s.
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Akuma No Uta
Boris
A combination of their stellar drone debut, Absolutego, the interminable (but also stellar) hour-long doom epic Flood, and the '70s rock they love so much (particularly employed on fourth album Heavy Rocks), Akuma no Uta is the first Boris record to include tracks covering each of these styles, a practice they'd employ throughout their career. While the stoner rock songs are fun as hell, it's the 10-minute opener, "Introduction," that will appeal most to anyone who prefers Boris' taste for fat, super slo-mo riffs and their zeal for senseless, wholesale tube-murder.
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