Boris - Smile Review
Posted by James Palm on 05.07.2008
Despite finding popularity Stateside in only the past few years, doom metal pioneers Boris have just issued their 17th release. After an acclaimed career mastering the depths of drone, the Japanese trio add some new elements to their sound for their latest album Smile.
The biggest marketplace in the world is the United States, without question. Virtually all mediums of entertainment are dominated by American product, ensuring that the culture of countries such as Japan remain something of a novelty compared to the global popularity of Hollywood films and mass market pop music. While some acts find a niche in the States through their diversity, the easiest way to ensure overseas success is to bring foreign methods to a Western style. Recent exponents of cultural crossover are the now legendary Boris. This Japanese three-piece of doom have amassed a diverse discography since their debut in 1996. At the forefront of the drone movement of years past, Boris have toured the astral plains with a live act that is seen to be believed. In terms of exposure, their exhilarating 2005/6 album Pink was their finest hour, a deafening sludge metal ode to Tony Iommi. Given their schizophrenic tendencies, a follow-up was never going to be dull.
The band’s refusal to imprint itself unto one genre is what both attracts and alienates listeners. The same people who enjoyed Pink may not revel in one-song drone-fests such as their debut Absolutego. From this admittedly testing album, Boris have evolved and refined their sound, progressing through and distorting 70’s guitar influences. Now the band seems content to rely on its own talent and move into the future, and Smile certainly shows the band having fun. Even without the obvious suggestion, at times all you can do is smile, grab the nearest object that resembles a guitar and thrash to your heart’s content. The moment you find this unavoidable is "Tonari No Sataan" (Next Saturn)". Lead guitarist Wata and Ghost axeman Michio Kurihara battle under a bubbly rhythm before escalating into a memorable space-age riff, a track typical of Boris for its unorthodox glory.
Experimentation is a dangerous path to tread, as sometimes fans can become disenchanted when their favourite band starts shuffling their proven formula. Boris is a notable buck to that particular trend. In fact, they seem to take pleasure from their artistic freedom. Their cover of Japanese legends Pyg’s “Hana, Taiyou, Ame (Flower, Sun, Rain)” opens with ominous drone reminiscent of their work with labelmates Sunn O))), before dropping into an ambient groove that is far more classic rock than their recent work. The band’s eagerness to try out different structures is what keeps them from becoming boring, and despite the characteristically mammoth track lengths, this is the easiest Boris album to listen to.
One element of a number of songs on Smile that may take some by surprise is the development of jazz-influenced progression. Playing one chord for an hour is certainly interesting, but here on many track the band seem to be feeding off each other in a new way. On first single “Messeeji (Message)”, drummer/vocalist/party-starter Atsuo lets his bandmates build over his unremitting beat, which remains steady for the majority of the track. The interjections of guitarists Wata and Takeshi feel natural, not forced, and their restraint is admirable, given Wata’s abilities to rip up a guitar storm within one movement. Another fine example of the band’s cohesive form is “Kare Hateta Saki (Dead Destination)”, the first leg of a marathon home straight.
In spite of trying to discover new sounds, Boris will always have a few ‘classic’ tracks up their collective sleeves. “Buzz-In” provides a volatile rush at the top of the album, morphing seamlessly into “Hanate! (Shoot!)”, a track that threatens to destroy the balance systems in your brain. This is Boris at its best; piercing guitars, thunderous bass and a sense of unpredictability. They even manage to slip a joke in. Dubbed over a particularly raucous segment is the simple motto “Rock and roll”, slurred with such a tongue-in-cheek tone that Atsuo could be simultaneously receiving oral sex. The rock ‘n roll spirit is alive and well in Boris, displaying the freedom that tag once represented in the music industry, now nothing more than hyperbole.
Even if this is only Boris’ second album containing vocals on every track, inevitably ambient doom finds its way onto the end of the album. The final three tracks alone make up almost half of the runtime, the only (not so) shortcoming of Smile. While tracks with a long build to a fiery finish are trademarks of Boris – “Kimi wa Kasa o Sashiteita (You Put Up Your Umbrella)” plays with the album’s earlier experimentation before unleashing a haunting melody that proves good things come to those who wait – they detract from the inventive yet playful mood of the previous quarter-hour. However with Stephen O’Malley of the aforementioned Sunn O))) in a guest role on bonus track “Untitled”, drone was unavoidable.
The Hit - Messeeji (Message) The Encore - Tonari No Sataan" (Next Saturn) The Wah? - half of Untitled
NOTE: This cover is for the American release. I've got a Japanese copy, and I prefer that art, but most of you out there will be looking for the above cover.
The 411: A rarity amongst bands of Boris' nature, Smile is both accessible to new fans and satisfying for established fans. Every member of this band is simply amazing with their instruments, and looking back at their career, it shows. Boris can't help but excel at what they do. While not provoking the giddy heights of Heavy Rocks or even Pink, this is an album you can listen to many times over.
