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04/19/08 Roadburn Festival - Tilburg
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The one thing I've learned in the couple weeks I've been writing here is that metal is a somewhat tough sell to the average music fan (even those with more “underground” sensibilities). And it's definitely not for everyone, sure. But I've also found one band that seems to be an exception to this rule. For some reason, Boris manages to unite all sorts of listeners behind them, despite being one of the more abrasive bands out there right now.
That said, I was excited as hell to get the new album, Smile, for review! After many, many listens, I can say with confidence that this album will probably be at the top of a lot of magazines' year-end lists for 2008. Even early in the year, I say this because yes, it's that good.
The album starts out with “Flower Sun Rain,” a cover of a song by a band called Pyg, which begins some good old fashioned guitar feedback, and ends up sounding more like a funeral dirge, with a “pretty” sounding guitar line repeated under a hypnotic, repetitive vocal part. Guitar feedback builds up into a full-on arena rock lead and then back again into a solo vaguely reminiscent of some of Built to Spill's heavier moments. This is the shortest feeling song it's ever taken me seven minutes to listen to.
“Buzz-In” is a perfect follow up. Some of that nice, spastic rock for which Boris has become known. The dissonant horns playing in the background bring to mind Nation of Ulysses or The Stooges.
“Laser Beam” starts off with a lead guitar dueling with another guitar feeding back. This turns into a vaguely Motorhead style rock 'n' roll song with some killer leads and straight-up punk rock drumming. Eventually it buries itself under a wall of feedback and changes up entirely to full-on Kill 'Em All thrash with melodic sung vocals. It breaks down again into feedback and finally into a drum beat with a bizarre acoustic section over it.
This is followed by “Statement,” the album's first single. A cowbell and a screeching lead guitar kick it off over a nice, thrashy, Motorhead style rock 'n' roll drone. More melodic vocals here. Really, this sounds like a more focused version of the last two tracks. Definitely a lot more straightforward than either of them.
The next track, “My Neighbor Satan,” starts out in more post-rock territory with what sounds like a keyboard with an almost Boards of Canada-esque drum beat with sung vocals high in the mix, and guitar drones in the background that slowly bury them. About two minutes in, the time changes, the crazy guitar wailing takes over, and about a minute later, the song is right back where it started. The song ends with a full minute of feedback that would make J. Mascis proud.
“KA RE HA TE TA SA KI – No One's Grieve” starts out with a Sunn O))) style drone. Downtuned and slow. About a minute and a half in, it's out the door with balls-to-the-wall spastic thrash with a feedback drenched guitar solo playing slower and pulling it all together. The vocals come in slow in contrast with the speed at which the rest of the song is being played. The lead guitar is mixed high and plays a crazy, almost improvised sounding solo. This song could put you to sleep as easily as it could melt your face off.
The last track, “untitled,” (a bonus track on the Japanese release) begins with more feedback, a consistent theme on this album. It goes into another dirge-like section that pretty much goes on for the duration of the song.
A few notes: I'm pretty sure the promo copy I have of this is chopped up a bit, and missing a track. It also sounds like it might be ripped from vinyl. Also, a few of the songs are shorter or longer than Wikipedia lists them as being on the Japanese version.
Still, I can pretty much say with confidence that this is going to be one of the best albums released this year. Definitely worth picking up.
03/07/2008 00:15:18
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