There’s no one else like Boris.
The Japanese noise icons last visited Australia in 2012, where they their third record, the droning opus that is 2000’s Flood, in full. But such is the prolific nature of Boris recording career that they’ve released three new records since then, starting with their 18th record, Präparat, in 2013, followed by their latest record, Noise, in June of 2014, as well as the fourth and final instalment in The Thing Which Solomon Overlooked cycle.
Though Boris have built much of their legacy on an aesthetic rooted in noise rock, the trio have a Bowie-like tendency for reinvention, flirting with doom, shoegaze, sludge metal and drone in their near-two decade career. Yet Noise might be their most diverse — and, perhaps surprisingly, accessible — release to date. In spite of what the record’s title may suggest, Noise shows Boris at their most melodic, embracing the harmonious along with the dissonance that runs throughout their discography. More than anything, Boris are about adaptation, change and progress.
Here, guitarist and vocalist Takeshi discusses over email the creative process, the live show and the future of Boris.
You’ve been releasing records through Sargent House since 2011 – how has your experience with them as a label compared to your time with Southern Lord?
Takeshi: Whenever Boris work on new music we have always been conscious of its freshness. Since the day one we worked with Sargent House we could find another output, direction, connection with new people as well as unknown music. It has been great and healthy to be working with them.
Last time you played Australia, you were playing one of your most well-regarded albums, Flood, in full – are there any plans to revisit Pink as it turns 10 this year, or are you purely focused on new Boris music?
10 years have passed since the Pink release? I totally forgot about that. Well it may be hard for us to play an old album in its entirety for the show unless we have particular reason or concept to do. Nothing is more than great to play new songs and sound which is being updated day by day, and we’d prefer that.
The compelling thing about Boris is the diversity in your body of work, from the Earth-inspired doom of your early work to your fascinations with sludge, psych, shoegaze and doom to Noise, probably your most melodic and varied work to date. What is it that drives that evolution of sound from album to album?
Simply we have just enjoyed our music. ‘Good music is good’ and as far as it still means ‘heavy’ for us it doesn’t really a matter whatever genre or category has. We have our own signature sound that only three of us can make and it will never end.
You’ve collaborated with some highly influential artists in the world of drone, noise and rock – from Sunn O)) to Ian Astbury to Merzbow and Keiji Haino. Who are some other dream collaborators you’d like to work with?
Collaboration will not happen unless there is significance or necessity. It all depends on an encounter or certain opportunity, if there is no mutual communication each other on musical lever then that is going to be one-way and ‘everyone is acceptable’ for us, which doesn’t mean fruitful. Luckily enough Boris have met lots of great artists like a destiny, we have respected collaborators each other before we worked together. Our latest collaboration is with ENDON, who is one of the most updated extreme bands in Tokyo. If there is significance and necessity then that will lead us to another opportunity for collaboration.
In an interview with The Quietus last year, you talked about the Tokyo soundscape and the vitality of noise as a part of the Japanese psyche, saying that “noise is Japanese blues.” Was that something you realized when Boris was forming, or did it become apparent later on?
That was recognized me when Boris toured outside Japan for the first time. The more I encounter other cultures and customs and with seeing Japanese culture objectively from outside of Japan, the more I realize that is crucial. Of course it is so loud in downtown of every city, though so many massive noise and unnecessary voice information are flooded everywhere in Japan and no one says it is noisy and makes any complaint against it. On the other hand authorities are very strict with low frequencies inside of clubs or db-limit at open-air show here. It seems to be more comfortable for me when I have been in western countries, cities have more quiet spot everywhere. In general it tends to be considered that Japan or Japanese people respect and prefer silence or calm but I think they are just patient, or try to be, with whatever it sounds so loud or noisily.
With such a vast discography, how will you approach your live show on this tour in terms of designing a setlist and ensuring there’s a satisfactory representation of new and old material?
Basically Boris play the latest songs for the show though it is pretty hard to decide setlist, in order to have both new and long-term fans enjoy shows at once. For our own headline show we can play longer set with various sides of our musical aspect and direction, and for residency show like 2 days in each city which is enabling us to show totally different set both days. Boris have always tried to play enjoyable set not only for our audience but also for us.
Noise will be almost a year old by the time you come to Australia, and you have a reputation as a highly prolific band when it comes to recording – is there another Boris album coming soon?
Yes, we are currently focusing on recording and studio work. During the Live Noise Alive world tour to support Noise, we have found new and particular vision and concept for the next album. It is pretty exciting to devote ourselves to working on it. I hope this one is worth for you to wait for.
Boris “Live Noise Alive” Australia Tour
Brisbane — Crowbar — Wednesday May 27
Sydney — Newtown Social — Thursday May 28
Sydney — Newtown Social — Friday May 29
Melbourne — Corner Hotel — Saturday May 30
Adelaide — Fowler’s Live — Sunday May 31 (all ages and licensed)
Perth — Rosemount Hotel — Monday June 1
Tickets from Oztix and the venues.