1. Farewell 2. Pink 3. Women On The Screen 4. Nothing Special 5. Blackout 6. Electric 7. Pseudo Bread 8. Afterburner 9. Six, Three Times 10. My Machine 11. Just Abandoned My-Self /font>
Boris is an indescribable beast, lumbering out inexorably from the land of the rising sun, leaving behind a shape-shifting footprint for the masses to ogle and absorb with nearly every step. Though just recently re-issued by Southern Lord, ‘Pink’ was first released in November of last year, since which time Boris has rolled out three more full length albums. Yes, three.
Their material is adaptable and timeless, spanning fuzzed-out rock, two-minute punk catharses, hour-long bowel-shaking drones, stoner anthems, and any number of other styles, so long as the tuning is dropped and the production’s got buzz. Quietly unassuming, surprisingly marketable, and vastly prolific, Boris have in short succession become one of the most talked about bands in the underground rock and metal scene, and the aptly timed ‘Pink’ is a solid outing that showcases many of their talents.
From the absolute first moment to the very last, ‘Pink’ is awash with feedback. This production aim can drown an album if botched, but Boris are masters of the style. And predictably so, considering the origin of their name (a Melvins song) and back catalogue titles like ‘Amplifier Worship’ and ‘Feedbacker’. Their use of static, feedback, and melody are intertwined meticulously to create one of the most complete and dense trademark sounds in metal today that fills the audience’s ears like thick barbeque sauce coats the throat when inhaled.
Beyond the principle of their material, though, Boris also succeed in composition. As haphazardly composed as ‘Pink’ is and despite its rough edges, it flows with true elegance. Most likely, only a true fan of Boris or their genre will love every cut on here, but most every fan of heavy music with a high tolerance for dissonance will enjoy at least a few tracks on here.
For the majority of ‘Pink’, Boris keep their tracks almost Beatle-esque—short, simple, and to the point, albeit far more abrasively and in a wider range of styles. ‘Pink’ is at some points post-rock (My Machine), at others bordering on drone doom (Blackout), all leading up to the final, oceanic epic 18 minutes long (Just Abandoned My-Self) composed approximately of one 9-minute strophic melody and 9 minutes of feedback that closes the album in unpredictably high splendor.
While it may not be an album easy to get through in one sitting for many, it represents both progression and retrospect. It is doubtful that ‘Pink’ will be getting frequent spins in my player, but the experience of it was undeniably unique and worthwhile. For an enterprising music fan, Boris is a valuable experience.
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