| Boris and Michio Kurihara - Rainbow |
| Boris,
much like the Tokyo underground they are simultaneously outside and
part of, dove headfirst into the idea of collaboration. They find their
friends and stick with them, often releasing several works with
whatever unofficial fourth member they choose: Keiji Haino, Merzbow,
American band Sunn O))) and its guitarist Stephen O'Malley have all
shared studio space with the Tokyo threesome. Most recently, they've
hooked up with White Heaven/Stars members You Ishihara (who produced
the Japanese version of "Smile") and Michio Kurihara (also in Ghost.) Past joint efforts showed varying logic and potential, but the Kurihara connection was possibly the most inspired. His buzzing, acid drenched tone and spiky attack has pushed Boris into less dense, more straightforward territory, ironically allowing them to push previously untouched envelopes, expanding their sonic palate in ways that would have fallen flat on their more noise based partnerships. The band certainly seems to enjoy his company: unlike previous, more sporadic alliances, Kurihara has been on every major studio release (and the live version of "Smile") since their debut effort together, 2006's "Rainbow." When "Rainbow" came out, it was Boris' first song based album since their breakthrough "Pink" (although the prolific group released no fewer than five instrumental, drone based efforts in the 13 months between the two.) It was therefore viewed by many as "Pink's" followup, and while it's got a very different heart, it didn't disappoint. It's certainly more laid back. There's no ass shaking deluge of adrenaline on the order of "Woman On The Screen" or "Pink," instead offering a sometimes placid, sometimes shoegazery sound that seems like an obvious fit in retrospect. Six of the nine tracks are downright quiet, in stark opposition to just about every release that surrounds "Rainbow" in the band's catalog. The huge, almost Jesu like slow pummel of "Raffesia" (live video here) sets the scene, a cloudy, unhurried trudge. Halfway through, guitarist Wata and Kurihara play off each other in slow, twisting spirals of sound, Kurihara's sharp, serrated tone creating bright sparks as it collides with Wata's typically heavier tone. From these dizzy heights, we're sent back down to Earth with the hushed, smoky title track, as Wata delivers a rare vocal that's simultaneously seductive and ice cold. Kurihara's solo cuts through the peace like a scalpel, a scalding rebuke. It brings to mind his equally jaw dropping take on White Heaven's "Blind Promise:" he charges in, takes the song by the throat, and shakes it like a rag doll. One striking thing about "Rainbow" is the instrumental interludes. "My Rain," "Fuzzy Reactor" and "...And I Want" come off as gentle, bright soundtrack music, refreshing counterpoints to the looming darkness of the album. Then there's the gloomy vocal of "Shine," which sounds like a standoff in an old Western, meditative acoustic guitar plucking out a simple three note riff as Wata quietly soars in the background, like birds of prey circling overhead. You can almost see the tumbleweeds blowing by. "Sweet No. 1" is a rude awakening, it's sub Bo Diddley lurch giving Kurihara and Wata plenty of space to trade licks. It's as close as "Rainbow" gets to straight up rock 'n' roll, but even so, it's pretty out there, bringing The Flower Travellin' Band's epic (and epically bizarre) masterpiece "Satori" to mind. This may well be the best Boris matchup to date, and it's still going: at this point, Kurihara seems like a real fourth member, even touring with them in the US. Late December 2008 will see the release "Cloud Chamber," and it remains to be seen whether Kurihara's sizzling fretwork will continue to pull Boris into more traditionally focused directions, or whether Boris' malicious, disorienting sound will pull him in. Either way, it's good to see the match bear so much fruit. It could well lead to artistic peaks for all. |