Boris "Dear/ 25th Anniversary Tour"

Saturn Presents:

Boris "Dear/ 25th Anniversary Tour"

Thou, Endon

Thu, November 9, 2017

Doors: 7:00 pm / Show: 8:00 pm


Birmingham, AL

$16.00 - $18.00

This event is 18 and over

“We don’t feel comfortable calling Dear a return to our slow and heavy style,” says Tokyo’s amplifier worshiping experimental metal institution Boris. “We’ve been heavy since day one.” And it’s true. From the droning thunder of their Absolutego debut and through the cinematic crescendo of albums like Flood, the bombastic licks of the Heavy Rocks records, the punk rage of Vein, the bottom-dwelling psychedelia of Akuma no Uta and Pink, and the grimy thump of Attention Please and New Album, Boris has always attempted to search out new ways to level listeners with their sound. On the 25th year of their existence, the trio delivers Dear, an album they describe as “heavenly—far beyond heavy.”
Though Boris has traversed a broad swath of sonic territories, they have always been consistent in their embracing of excess, pushing their myriad of approaches and stylistic forays to points of intoxicating absurdity. But a time came in the early years of their third decade where the band wondered if there were any new horizons for the band to explore. Consequently, it was decided that the band would begin jamming on material for what was planned to be a record that served as a formal goodbye to fans. In a strange twist of fate, being unencumbered by expectations and having an open-ended approach to the writing process reinvigorated Boris. The renewed vitality yielded an album that fortifies their monolithic wall of sound while also allowing the individual band members to explore the nuances and intricacies of minimalist riffs played at maximum volume.

Album opener “D.O.W.N. –Domination of Waiting Noise-“ sets the tone for the record’s glacial pace and seismic rumble with vast swaths of sustained chords underscoring oscillator pulses and Takeshi’s soaring vocals. Songs like “DEADSONG”, “Kagero”, and “The Power” take the glacial doom of their early records and broaden the expanses of empty space to allow the chirp of amplifier tubes, the groan of strained speaker cabinets, and the sizzle of cranked distortion to transform their dirges into macrocosms of textures. It was a premeditated strategy, with the band deliberately scaling down on instrumentation in order to allow more color, detail, and tension to emanate from their protracted riffage. The galloping chugs and acidic guitar leads of “Absolutego” provide the most rock-oriented moment of the album, even though the song’s crushing timbre is cataclysmic even by the most down-tuned and heavily doped stoner rock standards. Brief moments of respite from the dimed amplifiers can be found on songs like “Beyond” and “Memento Mori”, where the band juxtaposes their deluges of fuzz with hints of ethereal dream pop.

Songwriting for Dear initially yielded three albums’ worth of material by the end of 2015, but as the band was slated to spend a large chunk of 2016 on their “Performing Pink” worldwide tour, they decided to hold off on releasing any new material. The tour further rekindled their passion, and when the band returned home they wrote several more songs and scaled the three records down to one. “At the very first moment, this album began as some kind of potential farewell note of Boris. However, it became a sincere letter to fans and listeners… you know, like ‘Dear so-and-so, this is the new album from Boris’ or something like that. We feel so grateful we can release this album in our 25th anniversary year.” Adding to that sentiment, Sargent House is grateful to release Boris Dear to the world on July 14, 2017 on CD, 2xLP, and digital formats.
The first time I saw Thou play live, it was an earlier incarnation of the band opening for Sunn 0))) at Philadelphia’s First Unitarian Church. Shaggy locks of hair obscured most of their faces, and their skinny arms were clad in flannel and neutral t-shirts. There was nothing outwardly “metal” about their presentation, as long as one ignored the ominous stacks of amplifiers looming behind them on the low chapel stage. They were unassuming, and it was all very unremarkable, until the first note rang out and the rafters shook and the stained glass rattled as Thou proceeded to browbeat the audience with their apocalyptic doom. The band has toured the world and racked up stacks of accolades since then, but you’d never know it from speaking to any of its members.

Within a genre that prides itself on theatricality, Thou’s lack of pretension and their commitment to the DIY world from where they came is refreshing. The band refuses to hide behind elaborate stage shows or tour laminates, releases boatloads of new material every year, and still prefers to pile into their beat-up red van and play all-ages DIY spaces. They hail from Baton Rouge, Louisiana, but could seemingly care less about fulfilling anyone else’s “Southern sludge” stereotypes. Basically, Thou have always been Thou, and their stellar new album, Heathen is a portrait of a band that is in complete harmony with itself, if not the world it inhabits.

It’s also their first full-length since 2010’s also stunning Summit, though the band have released a cavalcade of splits, EPs, and covers since then. They’re nothing if not prolific, and luckily, everything they’ve released since their first 2005 demo easily stands up to the most rigorous standards (especially their penchant for recording brutalizing Nirvana covers). This album is no exception. Though Heathen stretches well past the hour mark, the album must be digested as a whole.

The bruising power these songs wield is great and terrible. This fourth full-length is undeniably the band’s most punishing work, and yet is also their most beautiful. Thou explore their melodic potential to an almost startling extent, and devote more than a few moments of the sprawling collection to gentle, uplifting harmonies. The rivers of oppressive sludge are broken up by three short, quiet instrumentals, written around pastoral acoustic guitars that occasionally echo Earth’s dreamy recent output. For the first time, they’ve allowed a faint glimmer of light to shine through the overbearing gloom.

Not only that, but for the first time, the album also includes clean vocals courtesy of close band ally Emily McWilliams. Her warm, clear tones lighten up the darkness, and add an almost joyful element to Heathen’s shuddering dirges. McWilliams also played puppetmaster for all the strings and horns that pepper the album and add splashes of color to Thou’s usual dark sonic palette.

The album’s first track, “Free Will”, is ominous and somber, building in intensity over the course of nearly 15 minutes and neatly exemplifying what’s so compelling about Thou’s trance-inducing chords and tense, ultimately cathartic crescendos. Vocalist Bryan Funck’s near-feral howl commands and chastises, laying out the album’s themes of power, despair, defiance, and free will. His delivery may verge upon black metal in its throat-scraping mania, but the words he speaks are grounded in crushing reality, not fantasy. The demons he confronts are real.

The aforementioned first track, “Into the Marshlands”, and “Immortality Dictates” stand out as album highlights, with the latter sneaking up out of the gloam. In direct contrast to its stark title, the third and longest interlude “Take Off Your Skin and Dance in Your Bones” follows one bright, rippling melody before sinking deep into the mire with the next track’s explosive bait and switch. “Immortality Dictates” underscores McWilliams’ wispy vocals with a ghostly choir, then plunges straight into a caustic dull roar. Other songs like “At the Foot of Mount Driskill” and mournful closer “Ode to Physical Pain” are more inclusive, weaving strains of melody over and under abrasive, fuzz-drenched doom riffs in more traditional Thou style.

They may have lightened up a bit, but Thou have definitely not lost their ability to shock and awe. Those who appreciate the electric frisson of the band’s lumbering doom riffs and Funck’s acerbic snarl will find much to appreciate here, and it’s hard to see even a casual listener taking issue with the more experimental bent of the LP, especially when it works so well. Consumed by struggle and steeped in agony, Thou have truly reached a summit. - Kim Kelly (Pitchfork review)
Japanese experimental acoustic collective from Tokyo

First gathered in 2007 in order to bring a decisive rally on contemporary extreme music. In addition to a conventional band formation of vocal, guitars, and drums, there are two additional electronics performers, allowing them to create harsh, distinctive sounds in various chaotic mix of styles ranging from noise, hard core, black metal, industrial, to grind core, through an absolutely physical embodiment of pure hard core mentality. Their staging can be characterized as a plethora of physical and acoustic momentum, with destructive performances involving self-mutilation and bleeding, receiving high critical acclaims in the underground live scenes and are touted as one of the most exciting acts.
Venue Information:
200 41st Street S
Birmingham, AL, 35222