Boredoms

ARTIST MAINARTIST INFORELATED ARTISTSLINKSREVIEWS

Of all the artists in Japan's thriving noise-music community, the Boredoms undoubtedly had the most fun. Although their maniacally extreme cacophony was by no means accessible listening, it was underpinned by a gleeful sense of humor that helped them find a limited (but still surprisingly wide) audience among alternative rockers. A typical Boredoms track might feature massively distorted guitars, squealing synths, any number of odd found-object noisemakers, or studio-manipulation effects; conventional song structures are thrown out the window in favor of abrupt, whiplash...[more]

 

 

Seven tracks of super-freaked and triple-tweaked Japanese gone-rock hypertronix from EYE, YAMAMOTOR, YOSHIMI P-WE, ATR, and HIRA. Digitally damaged metal, loopy electronics, skreed psych wanderlust, and tasty licks of general mayhem. "Handcrap" all around.

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VINYL FORMAT. Long regarded as musical pioneers, Boredoms have continually pushed sonic boundaries and inspired musicians for over 20 years. Their albums and their performances defy categorization, each one a completely unique event. The one commonality is that the members of the Boredoms have amazing technical skills as musicians, limitless imagination and the ability to combine the two as no others have. Super Roots 10 features a remix from Norwegian artist Lindstrom, as well as Japanes   [ read more ]

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Appearing in America after an initial Japanese release, and with a revamped track listing and song titles to boot ("Bocabola" is called that here only because somebody somewhere was worried about what a certain soft drink company might think of the original title), Pop Tatari definitely holds the crown as being one of the strangest things to surface under a major label's auspices. Even the Butthole Surfers' major label debut that year looked straightforward in comparison. Starting off with "Noise Ramones,"    [ read more ]

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Vision Creation Newsun finds Boredoms moving even further away from the random noise that marked their early output and settling into a loose, jam-oriented aesthetic. The first two tracks (no song titles here, only symbols) find Boredoms further investigating pounding tribal rock with propulsive drumming, energetic guitar work, and vocal chants. The overall feel bears some similarity to Super Ae, with tracks that draw from Krautrock and psychedelia, but Vision Creation Newsun adds a folk elem   [ read more ]

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"Collecting the contents of the band's first two Japanese releases, Onanie Bomb shows that, from the start, the Boredoms were interested in musical chaos of a most unique degree. Rough but not lo-fi, Onanie rips, stomps, and explodes all over the place in several directions at once. Purists might object to calling some of what is whipped up 'songs,' but the goofy insanity in the death-march-meets-squalling-cartoon-voices of 'We Never Sleep,' and even the song titles that reach beyond over the top, like 'Lic   [ read more ]

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There may be no other band in the world that has traced an evolution as simultaneously varied yet focused as Japan's Boredoms. Across nearly 20 years, founder and leader Eye has taken the band on the equivalent of a road trip, from the early swamps of chaos through times of tribal frenzy, oceanic tranquility, and even near prog-rock sonic constructions. On this record, two lengthy tracks manage a paradoxical blending of peaceful waves of sound with intense, churning rhythmic moments.

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It can still be said that they're the Boredoms, but it can also be said that they're not simply content to totally repeat themselves, established as the band's general formula is. The crowned princes and princesses of "wackoaggro," here the Boredoms start to let more of their prog-rock fascination creep in, often doing so to brilliant effect. "Acid Police," not merely a great opener but also one of the group's best songs, period, offers an a cappella call and response between Eye and his main vocal cohort,    [ read more ]

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This EP might sound familiar to Mekons fans; ostensibly, it's an extended cover of the group's second single, "Where Were You?". The 20-minute "Boriginal" mix and the two remixes that bookend it lock into the mekano-heartbeat of Krautrock and embrace synthesizers more fully than previous releases. These are joyous chords that ring out with precision and abandon alike, when warranted.

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Super Roots 3 rages forth with a full half-hour's worth of unimpeded, breakneck, two-chord thrash. If the first Super Roots was maddening in its frantic attention deficits, this one quells the frustration with linear, single-minded aggression.

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Third installment of this awesome BORE-manip program in which Krush works out (of) the back-catalogue over 44:51. 808 bass bombs, large amounts of guitar noise, some great gated phased drum bits (a nod towards early minimalism? you decide), parts of certain choons left intact, morphed with others. Surprisingly not the low-bit late-night crackle-pop stoner hip hop jam we were all expecting but something... slightly more challenging in a way, with a good deal of plunderphonia, digital editing, etc... An unlik   [ read more ]

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1993's Super Roots 1 might be the strangest of the group's catalog. Assaulting but playful. The mostly percussive, acoustic tracks generate a restless, clanging racket with band members beating the tar out of electric guitar, mile-a-minute auctioneer vocals, and alien-nerd daisy chain chants. Easily the most entertainingly difficult music they've made.

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Japanese-only live release from Boredoms featuring audio from their 77 Boa Drum performance July 7, 2007 in New York on two CDs. Also includes a bonus photo book and DVD. "Deluxe package containing the full 100-minute '77 Boa Drum' performance on 2 CDs, split at the point in between the two sections of the piece. The two CDs are housed inside the front and back covers of a lovely 8"x12" hardcover book containing 28 pages of full color photos from the event. Also included is a DVD (NTSC format, All Re   [ read more ]

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