Wednesday, July 12, 2017
Boris : " Dear"
Boris have brought back the heavy. That is not to say it's not full of the experimental atmosphere they have been languishing in the past few years it's just a more balanced blend. The first three songs kind of run together until they pick up the pace on "Absolutego". It is very grunge like, thank to the drugged mumbled grit of the vocals. When you go back and listen to these song again you might realize like I did that there is less substance to the second song which makes it almost more like an interlude. "Absolutego" however rocks in a way that makes up for the experimental years. It builds into a heft sludge chug. Songs four , five and six also lull you into a seamless blend in their dreamy haze. "Beyond" starts off with a coo of soft female vocals and builds into the male voices coming in as the distortion kicks in . This is done in a manner that reminds me of some of Jesu's best moments.
"Kagero" just kind of drones with falsetto vocals haunting the song, it doesn't really go any where. There is more of a shoe gazey feeling to "Biotope". But the song never really pays off in the end and is more of a tease as it could have soared , but in said lingered and procrastinated. Then there is another tease this time they make you think they might get heavy again on "the Power" which is more of an interlude than a song. The next real song is "Momento Mori" which finds the band taking a page from Sigur Rios play book. They do a good job of it even though the vocals are not as impressive. The vocals return to the more fey like breathy style of singing often used in shoe gaze.
Then comes the almost fourteen minutes of "Dystopia". This one could have had the first two minutes shaved off without compromising the song. It sounds like if Smashing Pumpkins decided to become a post-rock band. When we get to seven and a half minute mark a guitar solo kicks in. I don't think I have ever been so glad to hear a guitar solo in my life as it means this song is actually picking up and going somewhere. The title track cranks up to end the album with a lot of fuzz and feedback. If yells and abstract sounds create the sound of hell then it has a very sparse soundtrack. This goes on for four and a half minutes until it begins to seemingly gather steam. The drums linger to keep the slow drone going. I find it really hard to consider the noise that ensues a song. While they show potential and bring back some heavier sounds I would not say this is the band's best work . If you really like drone then you might round it up a bit from the 7 I am giving this album. I think they have potential and would just like to hear it invested in songwriting. I know a band making albums with song's is a vulgar concept but oh well.