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Archive for the ‘Boris’ Category

Franz Kafka–“Knife Play” (Harper’s, August 2020)

Posted in Boris, Fragment, Franz Kafka, Harper's, Japanese Music, Knives, Michael Hofmann, Play (Drama), Short Story, Violence on August 17, 2020| Leave a Comment »

SOUNDTRACK: BORIS-Archive Volume Four “Evil Stack Live” (2014/2020). 

In early August, Boris digitally released six archival releases.  Volume Four is called “Evil Stack Live” and it is a fantastic-sounding concert from 2003.  Boris released their fourth and fifth albums in 2002 and 2003.  This fifty minute set picks songs from both of these albums: Heavy Rocks and Akuma No Uta.

Full set live recording [NHK Tokyo, 15th May 2003] that was broadcast on Japanese government-owned radio. The setlist is compiled from songs representative of their “Uppercase BORIS” distinction, including tracks from “Heavy Rocks” (2002) and “Akuma no Uta” (2003).  (Originally released on March 5, 2014. Included in Archive 2, limited to 1,000 copies)

The show open with some splashing gong and two songs from Heavy Rocks (2002).  That instantly recognizable riff from “Heavy Friends” kicks in as Atsuo screams to open the show.  The riff continues, eventually picked up by Takeshi on the bass while Wata unveils a soaring guitar solo.  It’s segues into the fast and heavy “Korosu.”  This song has a catchy chorus that’s punctuated by a nifty riff from Wata.

The set shifts to the blazing rocker “Ibitsu” from Akuma No Uta.  The song is three minutes long and has some great guitar licks and solos from Wata while Atsuo and Takeshi sing the lyrics.  The really fast riffing at 2 minutes is energizing as they then return to Heavy Rocks for “Death Valley” which combines a classic riff with some great droning verses.  The song stretches out to almost seven minutes with some heavy jamming in the middle.

There’s a slight pause before the start of the epic 11 minute “Naki Kyoku.”  It starts slowly with some lovely picked guitar from Wata.  After two minutes, Wata begins her extended solo.  Atsuo and Takeshi jam a simple rhythm while Wata plays her soaring solo.  Atsuo sings a catchy line (although I don’t know what he’s saying) as the song jams out around a thumping bass line and Wata’s chill noodling.  The middle has a kind of call and response with the guitar and drums as Wata intersperses her licks between Atsuo’s drum fills.

They jump out of the slower song with two from Akuma.  First is the fury of “Furi,” a ripping heavy song with lots of chaotic drums and yelps and screams (I think Takeshi is singing lead).  A few gong crashes introduce the beginning of “Akuma no Uta.”  It’s a slow grooving song with Takeshi’s heavy bass and Wata’s simple riffage.  After two minutes the song takes off in a classic heavy jam–ripping guitar work and fast bass and drums.

They end the set with two songs from Heavy Rocks.  “Dyna-Sore” is a fast rocker with a catchy guitar riff and chord pattern.  The call and response between Takeshi and Atsuo while Wata plays the soloing riffs is only exceeded by the heavy middle drum section that turns into a super fast end riff.  The set ends with “1970” another great riff-based rocker.  This song features Takeshi and Atsuo singing together and a great rumbling solo bass moment before Wata ends the song with another ripping solo.

The quality of this recording is top notch and the selection of songs is just fantastic.  This is a great archival release.

Takeshi: Bass, Guitar & Vocal ; Wata: Guitar & Echo ; Atsuo: Drums & Vocal.

[READ: August 15, 2020] “Knife Play”

This is yet another fragment from Franz Kafka collected in The Lost Writings.  The one big surprise for me is how well fleshed-out the part of the story that exists is.   It’s unfinished, but the sentences that are there are well composed (depending on how much translator Michael Hofmann has added to or spruced up the original German).

It feels like he he plotted and executed the beginning of the story very thoroughly and then just stopped.

In this fragment, the narrator is sitting next to his wife in a theater box.  The play was exciting–a jealous man was raising a knife to stab his wife.

The narrator leaned over to his wife, but what they thought was curtain was actually a man.  He and his wife jumped in shock. (more…)

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Lina Wolff–“The Report” (Harper’s, August 2020)

Posted in Boris, Drinking, Harper's, Huh?, Humiliation, Japanese Music, Lina Wolff, Marriage Trouble, Saskia Vogel, Sex, Short Story, Translation on August 16, 2020| Leave a Comment »

SOUNDTRACK: BORIS-Archive Volume Three “2 Long Songs” (2005/2020). 

In early August, Boris digitally released six archival releases.  Volume Three is called “2 Long Songs” and that’s what it contains.

There are two songs in this live recording, one is 15 minutes, the other is 22 and this whole recording is just fantastic.

Originally released in 2005 from the US label “aRCHIVE”, limited to 600 copies which sold out immediately. A precious live recording from their early days, of Boris’s 1996 debut single song release, “Absolutego”, and “flood”, released in 2000, performed live together as “1 song, 1 production”.
(Reissued as part of Archive 1 on March 5, 2014. Limited to 1,000 copies).

Like the other Archive releases, this one was also recorded at Koenji 20000V.  This time in 2001–so the band and the quality of the recording are much improved.

“Absolutego” is a sixty minute song released as one long track on Boris’ debut album.  So a 15 minute version is quite truncated.  This version has a slow three-note bass line that slowly adds feedbacking guitars and cymbals.   At two and a half minutes, the drums loudly pound in–like Atsuo is introducing himself to the set.  But five minutes, the full on washes of noise have taken over the song and a few minutes later, Atsuo starts scream/singing.  The song starts speeding up and by 12 minutes there’s lots of cymbal crashing as the song crescendoes into a conclusion of feedback and warped sounds.

“flood” is a 70 minute song (!).  It is their third album (which was recorded in four parts).  This song is much prettier and far less abrasive and here is only 22 minutes long.  It opens with a pretty, quiet melody.  It is slow and moody punctuated by cymbals and echoing noises.  At four minutes the vocals come in–quietly singing in harmony.  Then the drums come crashing in, building to waves of guitar noise and cymbals as the loud bass pushes the song along.  A break introduces a high three note riff as the singing continues.  Is that Wata singing?  By fifteen minutes, Atsuo is making judicious use of the gong–a great punctuating sound.  The last seven minutes are a conclusion as the song drones out to the end.

This is one of my favorite archival releases.  The band sounds great and they perfectly jam out these long songs.

Takeshi: Bass & Vocal ;  Wata: Guitar & Echo ; Atsuo: Drums & Vocal

[READ: August 15, 2020] “The Report”

This is a short story and I agree with the first sentence: “The report is bizarre.”

A woman has hired a man to bring information about her husband.  The man followed the woman’s husband who worked at an office in Barcelona.  But he spends a lot of his time in Madrid.  With another woman.  They meet every Thursday and Friday

The wife does not want to know the other woman’s name.

But the man tells her that the other woman is very ugly–her husband turns off the light as soon as he can because, “her face frightens him.”  He takes long showers after lovemaking.

Then the man stands up and says that there are solutions to problems like this–we know how to get rid of people.   But the wife is not interested. (more…)

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Joshua Braff–Peep Show (2010)

Posted in Boris, Culture Shock, Funny (ha ha), Japanese Music, Joshua Braff, Photography, Pornography, Religion, Set in New Jersey!, Sex, Sexism on August 14, 2020| Leave a Comment »

download (89)SOUNDTRACK: BORIS-Archive Volume Two “Drumless Shows” (2005/2020). 

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In early August, Boris digitally released six archival releases.  Volume Two is called “Drumless Shows” and that’s what it contains.

I tend to think of drummer Atsuo as the leader of the band–he’s the mouthpiece after all. Plus, he’s the most larger than life of the three.  And, his drum sound is huge.

To have 46 minutes of drummless Boris music is quite a change.  It is, as the blurb says, the beginning of Drone Metal history.

Originally released in 2005 from the US label “aRCHIVE”, limited to 600 copies which sold out immediately. Includes 2 songs recorded live from Boris’s 1998 studio album “Amplifier Worship” and 1 song from “Early Demo”, all arranged for a drumless performance. The beginning of Drone Metal history in 1997.
(Reissued as part of Archive 1 on March 5, 2014. Limited to 1,000 copies)

The first of two songs from Amplifier Worship is “Huge” which was also on Archive 1 (this version was recorded at Nagoya Music Farm 9th Aug 1997).  It is 17 minutes long and is very different sounding without the drums.  It’s all drone with one of the instruments sounding almost like a didgeridoo.  After ten minutes echoing screamed vocals comes in but the drone remains.

The final two songs were recorded at Koenji 20000V 8th Aug 1997.  “Mosquito” was also on Archive 1.  It was three minutes there, but it is stretched out to 17 minutes of slow pummeling chords and guttural noises from Atsuo (I assume).  After ten minutes Atsuo starts chanting slowly with the thumping chords.  The final chords echo and feedback as they segue into

“Vomitself” also from Amplifier.  This track is only 12 minutes of drone.  About six minutes in the melody changes briefly before reverting back to the original sound.  For the final two or so minutes, squealing feedback brings this archive to a close.

Takeshi: Bass & Vocal ; Wata: Guitar & Echo ; Atsuo: Drums & Vocal.

[READ: August 12, 2020] Peep Show

Thirteen years ago I read Braff’s The Unthinkable Thoughts of Jacob Green and really liked it.  Then I forgot all about him.

This book was nothing like his more whimsical first novel.

It is set in the mid 1970s.  The main character is David Arbus, a seventeen year old high school student in New Jersey.  His main interest is photography.  He has a younger sister, Debra, whom he loves very much.  But his parents are something else entirely.

David’s father owns “real estate” in New York City.  This means that he owns The Imperial, a burlesque theater where women strip for money.  But this is the 1970s and men don’t just want tame strip shows anymore–they want to see everything.  They want porn flicks.  They want peep show booths.  They want sex toys.

But David’s father doesn’t want any of that.  He wants his business to stay “classy,” even though all of his friends and partners think he’s crazy for passing up the opportunity to make a lot more money.

David is aware of his father’s business although Debra is not. (more…)

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Colin Jost–A Very Punchable Face: A Memoir (2020)

Posted in Acting, Aidy Bryant, Andy Samberg, Boris, Chicago Blackhawks, Colin Jost, donald tRUMP, Drinking, Drugs, Funny (ha ha), Japanese Music, Jimmy Buffett, Leslie Jones, Memoirs, Michael Che, New Yorker, Pandemic, Political Humor, Politicians, Poo, Revenge, Saturday Night Live, Scarlett Johansson, Seth Meyers, Surfing, Wrestling, Yuck! on August 13, 2020| Leave a Comment »

SOUNDTRACK: BORIS-Archive Volume One “Live 96-98” (2005/2020)

In early August, Boris digitally released six archival releases.  Volume One is called “Live 96-98” and that’s what it contains.  There’s eight songs all recorded in the same place Koenji 20000V, once a year or so.

Originally released in 2005 from the US label “aRCHIVE”, limited to 600 copies which sold out immediately. Compiled from live recordings during Boris’s “Power Violence” period 1996 – 1998, including songs from the 1998 studio album “Amplifier Worship” and Archive Volume Zero “Early Demo”.  (Reissued as part of Archive 1 on March 5, 2014. Limited to 1,000 copies).

The first two songs were recorded in December 1996.  They are not for the faint of heart.

“Huge” is a ten minute drone.  It’s full of feedback and slow chord progressions that repeat until after five minutes, when Wata hits a high note and Atsuo starts screaming along with the thumping drums.  It segues into “Hush” which is 53 seconds of thrash: pounding guitar and drums, including something of a drum solo by the end while someone sings to it.

The next chunk of songs were recorded six months earlier.  “Soul Search You Sleep” is nearly 9 minutes of crashing chords with lots of screamed vocals.  There’s a brief fast section before the slow drones return.  Wata takes a guitar solo near the end which segues into “Vacuuum” which is a minute and a half long.  It starts with that wailing guitar solo until the pummeling drums and screamed vocals take over.  It ends with feedback that segues into “Mosquito” a slower song that has chanted vocals from both Atsuo and Takeshi.

“Mass Mercury” was recorded almost a year later.  Things aren’t radically different, but they allow some of the noise to drop away a bit more.  It opens with feedback and fast riffing guitars.  After a minute and a half everything drops out but some pulsing bass and guitar effects from Wata. The pulsing runs through to the end after a middle section of growls and drums.  It segues into “Scar Box,” which is a big slow riff.  Unexpectedly, mid song it briefly turns into a crushing hardcore song with shouted growly vocals until it slows back to crashing heavy chords.

The final track is the newest of the bunch.  It’s 8 minutes long and starts as a fast hardcore song.  Then a bass and drum rumble takes over and things slow down while Wata makes some airplane-like sounds it her guitar.  The solo loops and phases through to the end until about a minute left when both singers start shouting through to the crashing end.

I’m not sure if they are singing in Japanese or just growling, but it’s a pretty intense 45 minutes of live music.

[READ: August 12, 2020] A Very Punchable Face

I wasn’t really sure how I felt about Colin Jost.  I like him on Saturday Night Live’s Weekend Update and yet as the title of his book says, he has a very punchable face.  And, as I say every time I read a memoir–I don’t really care about memoirs all that much.  And yet here’s another one I’ve read.  And it’s yet another one from a cast member of Saturday Night Live–a show that I don’t think is all that great (but the memoirs are usually quite good).

There was an excerpt form this book in the New Yorker and it made me laugh at loud, so I looked forward to reading the rest of the book.

The beginning is interesting in that he says he had a hard time learning to speak–an odd thing for a TV news presenter.  But really the most fun part starts when he tells us about the astonishing amount of bad fortune he has had–his delivery about it all is hilarious.

The chapter “You’re Gonna Need Stitches” lists the six times (throughout his life) that he has had to get stitches–one was from getting a surfboard to the face!  Indeed there are two stories of surfing –not something I expected from a guy from Staten Island.  The second one involves being saved by Jimmy Buffet (and how much Jost enjoys eating at Margaritaville restaurants–I can’t get over how much alcohol must be consumed at a this franchise).  There’s also a crazy story about him visiting Google and getting injured by the VR machine.  He even somehow managed to possibly have insect eggs laid under his skin.  Ew! (more…)

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Boris (White Eagle Hall, Jersey City, NJ, September 8, 2019)

Posted in Boris, Coaltar of the Deepers, D-Day, Japan, Japanese Music, Jersey City, NJ, The Novembers, White Eagle Hall on September 8, 2019| Leave a Comment »

[ATTENDED: September 7, 2019] Boris

It was almost exactly two years ago that I first saw Boris.  They had come out with a new record and were actually thinking of calling it quits.  But they were inspired to do a tour, which I was sure was their last one, and it was spectacular.

Yet in the last two years they have signed to Third Man Records and have done a live session there.  They are just about to release a two album set called Love Evol (technically Lφve Evφl) and reissue Feedbacker and Akuma No Uta.  So when they announced that they were coming back–and coming to Jersey City–there was no way I could pass it up, even if it meant three concerts in three days.

Especially since the last time they played pretty much the whole new album, which was great, but I wanted to hear some older stuff too.

After the previous two nights of cutting it very close to the start of the show, I knew I wanted to get their early, in part because I had some merch to buy.  I’ve gotten very frugal about buying merch and I often don’t buy anything.  But Boris is a band that’s hard to find stuff here.  And even though Third Man was reissuing records which would mean they are much easier to get, I wasn’t taking any chances . So I arrived plenty early, bought some vinyl (and now greatly regret not buying the Tears EP, which I somehow didn’t know about and now see that it is impossible to get anywhere else). (more…)

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Mono (Union Transfer, Philadelphia, PA, May 20, 2019)

Posted in Acid Mothers Temple, Boris, Explosions in the Sky, Japan, Japanese Music, Mono, Philadelphia, PA, Union Transfer on May 20, 2019| Leave a Comment »

[ATTENDED: May 20,2019] Mono

It seems entirely possible that I could subsist on rock bands from Japan for a couple of months.  Between Acid Mothers Temple, Boris and now Mono, I have an amazing collection of experiences both on record and in person.

I was unfamiliar with Mono when Union Transfer announced that they’d be playing a “big, intense show, like usual.”  But I had to check them out…  (especially since tickets were only $10–a criminally low price for such an amazing show).

Mono has released some ten albums (plus EPs and more) since 2001.   They have been a band since 1999 with only one lineup change.  The original drummer left in 2018 and was replaced by New Yorker Dahm Majuri Cipolla. (more…)

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Emma Ruth Rundle (Union Transfer, Philadelphia, PA, May 20, 2019) [MONO]

Posted in Boris, Chelsea Wolfe, Deafheaven, Emma Ruth Rundle, Mono, Philadelphia, PA, Sharon Van Etten, U2, Union Transfer on May 20, 2019| Leave a Comment »

[ATTENDED: May 20, 2019] Emma Ruth Rundle

The night after Animals as Leaders, I was excited to check out Mono, primarily because I assumed it wouldn’t be all that crowded.  In fact, I didn’t even have a ticket ahead of time (risky if you’re driving over an hour, but it worked out fine).

My friends Liz and Eleanor had given me a Union Transfer gift card for my birthday and you can only use it at the box office, so I figured it was a nice time try it out.

The stage was pushed far forward to lessen the floor space (which is a cool thing they can do at UT).  I rather like when the stage is pushed forward as it makes the show intimate without being crowded.

I hadn’t heard of Emma Ruth Rundle and didn’t know anything about her.   I had no idea that she had a following (she has released three albums and plays in some other bands). (more…)

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Jonathan Franzen–“The Republic of Bad Taste” (New Yorker, June 8 & 15, 2015)

Posted in Boris, Jonathan Franzen, Morality, Murder, New Yorker, Religion, Sex, Sexism, Short Story, Therapy, Violence, Yuck! on February 27, 2018| Leave a Comment »

815SOUNDTRACK: BORIS-DEAR (2017).

The plan was that after 25 years, Boris would retire.  They recorded songs for Dear, but then toured the anniversary of the album Pink.  This inspired them to write more songs, and somehow through all of that, Dear was created (with apparently enough music for two more albums).

Then they toured Dear (a tour I was lucky enough to see) and are still going.  Who knows if they are done.  Who knows if this is their final album.  Either way, this is a doozy.

10 songs and 70 minutes (on the U.S. release), Dear specialized in slow droney heavy songs.  The album opens with seven smacks of a drum before loud heavy chords signal the beginning of “D.O.W.N -Domination of Waiting Noise.”  The vocals are loud but just loud enough to add to the overall drone sound.  Things slow down further with “Deadsong” a deep bass drone with whispered, rather spooky/demonic vocals.

Despite the drones there are moments of catchiness (relative).  “Absoluego” is a faster, downtuned song with a big shouted chorus and “Beyond” is a quiet, moody song featuring Wata on vocals.  About 90 seconds into the song there is blast of metal guitars and drums that lasts for 30 seconds or so before fading out.  When it happens again, one of the guys starts singing too, a faster heavier, catchier melody.

“Kagero” opens with a low rumble.  Eventually a slow, heavy guitar comes in with near falsetto singing.  “Biotope” has a steady pulsing bass drum through the track.  The guitars are slower with an occasional plucked string that resonates. This song even has some ooohs in it.

“The Power” has my favorite Boris riff since “Tu la la.”  It’s got six notes all of which are strangely menacing and yet catchy at the same time. This was a great song to see live.  “Momentio Mori” is slow and menacing with cool echoed/chorused vocals–there’s an Alice in Chains vibe to the vocals.  With about a minute left, the song slows down and grows quiet almost as a lead in to the 12 minute “Dystopia -Vanishing Point.”  This song opens with two minutes of warbly accordion (I loved watching Wata play this part live) and some thundering drums.  It all fades away into some quiet ringing guitars and whispered vocals.  This continues for a few minutes as waves of guitars are added.  And then at 7 minutes the loud guitars and drums blast forth and Wata gets to do a screaming solo for the final 4 minutes.  She is still soloing as the song abruptly ends and switches to the final track.

“Dear” opens with those low downtuned guitars echoing.  I love that the guitars simply slide up to a very high note and hold it until sliding back down.  There’s a muffled chug on the low chords while the heavily echoed vocals ring out.  The song continues like this, a mountain of low rumble, for 9 minutes until it starts to consume itself–feedbacking and disintegrating until it sounds like all of the plugs are pulled.

There’s not a lot of diversity on this disc, which resembles some of their earlier music.  I’m very curious to see what they do next.

[READ: February 9, 2016] “The Republic of Bad Taste”

This story (it feels complete and not like an excerpt, although the title seems unlikely as a short story title) was 20 pages long in this issue of the New Yorker.  That’s one of the longest pieces I’ve seen in the magazine.

And it covers a lot of ground.

Like how does an at-risk-youth counselor agree to commit murder?

It begins by introducing us to Andreas Wolf in East Germany circa 1987.  He is a disaffected youth, an atheist with a super libido and he has found employment at the church on Siegfeldstrasse.  Andreas felt the whole regime was ridiculous.  In fact he felt that a lot of things were ridiculous.  The Republic was just so German that it couldn’t even go after misfits unless it was by the book.

His “job” at the church was as a youth counselor.  He was surprisingly good at it. In part because he really didn’t care and in part because he himself was almost at risk.  He wasn’t really at risk because his father had a good position with the government, but they had more or less disowned him (aside from agreeing to make sure he never got into real trouble).  Plus, he was pretty good-looking so many of the at risk girls found him attractive–with all that implies.

He took advantage of this.  He found that his monetary reward was so pitiful that a reward in beautiful girls made up for it.  At the same time, he did have some scruples.  He never had sex with anyone underage or anyone who had been sexually abused.  What a guy. (more…)

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William Trevor–“Mrs Crasthorpe” (New Yorker, February 26, 2018)

Posted in Boris, Death, Drinking, Huh?, Humiliation, Merzbow, New Yorker, Prison, Pyg, Short Story, William Trevor on February 26, 2018| 1 Comment »

SOUNDTRACK: BORIS WITH MERZBOW-Rock Dream (2007).

Rock Dream was recorded live in November 2006 at Tokyo’s Earthdom festival.  It is a mix of the heaviness of Boris and the noise of Merzbow.  And it is lauded as a spectacular live document.

The Austin Chronicle discussed the album in their overview of Boris’ career, declaring it “definitive live document, an impossibly dense double album that touches down on nearly every point of their career, from Dronevil to Smile’s contorted stairway to heaven (“Flower Sun Rain”), with Merzbow’s electronic manipulations stitching it all together like connective scar tissue.”
In a retrospective review Tiny Mix Tapes, declared Rock Dream to be “not just the best album Boris ever made, but also one of the finest live albums I’ve ever heard.” and that “It’s incredible then that someone recorded Boris and Merzbow that night, because for two hours they got to be the best band on the planet.”

And what live show that opens with a 35 minute song wouldn’t be fantastic?  “Feedbacker” starts quietly with just guitar and Merzbow’s effects.  It has an almost spaghetti western feel to it with all the reverb.  Unsurprisingly, there’s moments throughout the 35 minutes where things dramatically change.  At 6 minutes there’s loud ringing guitars.  At 9 minutes things slow down and then slowly build back up with swells of music from the guitars, keys and effects. At 20 minutes, muted vocals come in and then grow louder.  It feels like it’s building to an end but it turns into faster guitars and a lot of noise.  By 31 minutes things have slowed down heading towards an ending which is primarily Merzbow’s pulsing sounds.  (And there’s so much more going on in that half an hour).

These sounds segue into “Blackout” full of thrashing guitars, crashing cymbals and Merzbow’s noise.  This segues into a song that I gather is only heard here: “Evil Stack” which features a lot of Merzbow’s knob twiddling and noise making and a lot of feedback as well.

This all segues into “Rainbow,”  a far more mellow song that opens with bass harmonics and simple drum beat with Wata’s quiet vocals.  It’s a slinky cool song with a mellow guitar solo.  Merzbow throws in some interesting sounds and and mild noises throughout.

If Disc one showcased their more expansive sound, Disc two opens with a bunch of really short fast loud songs all from Pink.

First off is the raging punk blast of “Pink.”  It is all-out thrash with a lot of yelling from Atsuo and wailing solos from Wata.  It’s followed by the 2 and a half minute rager “Woman on the Screen” with a great punk riff, lots of Atsuo’s screams and of course Merzbow putting a wall of distorrted noise over the top.  The trio concludes with the two minute  “Nothing Special.”  The punky blasts continue with “Ibitsu.”   It’s not from Pink but it’s just as fast.

Things slow down somewhat with “A Bao A Qu.”  It is 4 and a half minute with a lot of squealing feedback and thunderous drumming.  The final four songs return to that epic style–they are alternately 13 minutes or 8 minute long.

“The Evilone Which Sobs” slows things down with more of that reverbed spaghetti-western style guitar.  There’s squeals of feedback, slow plucked guitar and Merzow as this 13 minute song gets under way.  After three minutes the loudest guitar and bass imaginable come crashing through the melody.  The rest of the song is full on loud drone and feedback.  It all slows down for their surprisingly catchy of cover of Pyg’s “Flower Sun Rain,” which sounds just as good live as on record–including Wata’s wailing solo.

The final two songs return to Pink.  “Just Abandoned My-self” runs over 13 minutes and opens with a scream from Atsuo, wailing guitars from Wata and vocals from Takeshi.  The song barely lets up for seven minutes, and when it finally changes pace, it’s more for the guitars to do some e-bow working while Atsuo continues to pound away.  The last four minute are those droning chords with Merzbow making some really interesting sounds while the band plays on.  Merzbow ends the song with a kind of looping siren that leads into the show ending with a great version of “Farewell.”

Unlike the one from Crossing Waltz, Merzbow’s presence make a pretty big difference in the dynamic of “Farewell.”  The band sounds terrific and it’s a fantastic take on this by now iconic song.

For sure this live set isn’t for everyone–it’s loud, there’s some uncomfortable moments–but it really captures a band at full power.  And as with most Boris releases, it had a different cover in Japan.

Disc one   Total length:       49:58
“Feedbacker” (Originally from Boris at Last: -Feedbacker-) 35:05
“Blackout” (Originally from Pink) 5:19
“Evil Stack” 5:04
“Rainbow” (Originally from Rainbow) 4:30
Disc two  Total length:       60:32
“Pink” (Originally from Pink) 4:14
“Woman on the Screen” (Originally from Pink) 2:37
“Nothing Special” (Originally from Pink) 2:14
“Ibitsu” (Originally from Akuma no Uta) 3:35
“A Bao A Qu” (Originally from Sound Track from Film “Mabuta no Ura”) 4:35
“The Evilone Which Sobs” (Originally from Dronevil) 13:41
“Flower Sun Rain” (PYG cover, later released on Smile) 8:04
“Just Abandoned My-self” (Originally from Pink) 13:21
“Farewell” (Originally from Pink) 8:11

[READ: February 21, 2017] “Mrs Crasthorpe”

This story revealed itself slowly and in interesting ways.

We meet Mrs Crasthorpe in the first paragraph.  She is humiliated because her husband’s funeral has just been poorly attended.  It was also, by his own design, in a small, unassuming, frankly embarrassing cemetery.  Mrs Crasthorpe is 59.  Her husband was 72.  Yes, she had married him for money and yet it didn’t really make her a more fulfilled person.  She had cheated on her husband, but he didn’t seem to mind or care.

She had felt herself to be always a rosebud, claiming to be 45 when she was late nearly 60.  She also told no one she had a son.

Then we shift to following Etheridge, a man whose wife is near death.  He is tender to her, caring, but she doesn’t have long to live. (more…)

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Primo Levi–“Quaestio de Centauris” (New Yorker, June 8 & 15 2015)

Posted in Boris, Centaurs, Fantasy, Horses, Jenny McPhee, New Yorker, Primo Levi, Sex, Short Story, Translation on February 25, 2018| Leave a Comment »

815

SOUNDTRACK: BORIS-Crossing Waltz (2016).

Boris have put out (by my understanding) eight live albums.  As with most of their releases, they’re not all easy to find.  I happened to get this one because they were selling it at the show I was at (many of their releases seem to be only for sale at the merch table).  This one is from their own Fangs Anal Satan label.  It was released in 2016 but was recorded sometime around 2011.

It happens that this era is one that I know best (they put out three albums on the same day and they are all still available) so this is a fun live album for me since it’s fun to hear the distinctions and their ability to translate them in a live setting.

The disc opens with a two-minute intro–sirens from the opening of “Heavy Rocks 2011” which leads into “Riot Sugar.”  The song is heavy–it rocks out and is full of Atsuo’s whoops and yells–the sign of a real rocking song.  “8” is a song I didn’t know.  It starts with a lot of gong and has some great falsetto vocals.

“Statement” is great to hear live because it’s cool that they can play the songs just like on record.  Not that it sounds like the record exactly, but that they can recreate the music live–and keep it all catchy too.

Then things slow down for a few songs from Wata.  “Attention Please” is quiet and silky with cool guitar and effects.  I love the way Wata delivers the quiet, whispered lyrics.  It’s followed by “Party Boy.”  “Party Boy” appears on two records.  It’s hard to know which “version” this is but this one is slinky, dancey and heavy at the same time (we’ll say Attention Please, since there’s not much synth)..

“Flare” is from a 7″ and it is very heavy.  Then it’s back to Wata singing the really catchy “Spoon” with heavy drums.  The first disc ends with the 16 minute “Missing Pieces” (longer than the album by a few minutes).  Like a good epic, it starts slowly.  After three minutes Atsuo introduces a lot of drums and then the bass and guitar roar for about a minute.  It fades to near quiet once again.  There’s a minute or so of just vocals before the guitars come back, this time with soloing while Takeshi is singing.  Around six minutes in it turns to noise, noise, noise–both guitars on feedback and scraping and the drummer going bananas.  The band stops on a dime for complete silence and then takes off again–noise and more noise.  There’s feedback and gongs and more feedback.  And then at 11 and a half minutes the drums return–continuing through to the end.

Disc two opens with “Window Shopping” which is all about fuzz and buzz, full of Atsuo’s yeahs and a crazy wild solo at the end from Wata. 

Then they move back to some older albums for 2 songs.  “1970” comes from 2002’s Heavy Rocks album (the orange one).  It is full of bass rumble.  It leads to the classic “Pink” with gongs as the transition.  Even all of these years later, these songs are full of power.

“Alierion” is the longer version.  It starts slow and quiet and builds and builds, getting heavier for 12 or so minutes. The last minute is a solo piano melody, a dramatic departure for them.  Then the sirens come in again for “Looprider.”  “Looprider” is eight catchy minutes of shoegazey fun.

The by now standard closing of “Farewell” ends the show.  Hearing those opening notes live was great and it is great here.  The song sounds terrific.

One of the things about Boris live is that their vocals are never clear.  Perhaps if you understand Japanese the vocals are more obvious, but it feels like they may be something of an afterthought, especially live. The band is all about the sonic experience and the vocals, the voice, is just another piece of that.

1.1 Intro  2:35
1.2 Riot Sugar — Heavy Rocks (2011)  4:53
1.3 8 — Japanese Heavy Rock Hits Vol 1 (2009) 4:03
1.4 Statement — Smile (2008)  3:49
1.5 Attention Please — Attention Please (2011)  6:34
1.6 Party Boy — New Album (2011)  3:55
1.7 Flare — Asobi Seksu x Boris 7″ (2012)  4:24
1.8 Spoon — Attention Please (2011)  4:57
1.9 Missing Pieces — Heavy Rocks (2011)  16:01
2.1 Window Shopping — Heavy Rocks (2011)  5:58
2.2 1970 — Heavy Rocks (2002)  5:03
2.3 Pink — Pink (2006)  4:52
2.4 Ailerion — Heavy Rocks (2011)  13:52
2.5 Looprider — New Album (2011)  8:18
2.6 Farewell — Pink (2006)  7:37

[READ: February 8, 2016] “Quaestio de Centauris”

I was sure that I had read or posted about stories from Primo Levi before 2016, but I see no evidence of it.

Perhaps I have never read him, just heard of him.  I don’t know if this story is anything like what he typically writes, but it was a pretty unexpected story topic (continuing with the theme of this issue, apparently).

The story was translated from the Italian by Jenny McPhee.  And, as one might decipher from the title, the story is about centaurs.

The narrator says that his father kept a centaur in the barn.  Although he admonished the boy not to bother it, the bot and the centaur, Trachi, became friends.  Trachi even allowed him to ride on his back from time to time. (more…)

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