BORIS Pink 2LP sunn melvins earth neurosis 1ST PRESSING
$
40
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Description
BORIS "PINK" *FIRST US PRESSING* (SUNN55) 2006 Southern Lord Records. Gatefold Sleeve and PINK RECORDS are in EXCELLENT condition. OUT OF PRINT. Comes with a set of acid tabs.
Tracklisting:
A1.Pink
A2.Woman On The Screen
A3.Nothing Special
A4.Blackout
B1.Electric
B2.Six Three Times
B3.Afterburner
B4.Psuedo Bread
C1.My Machine
C2.Farewell
D.Just Abandoned My-Self
Review by Thom Jurek:
On first listen to Boris' Pink (domestically issued on Southern Lord), longtime fans of the Japanese heavy metal trio would be pressed to say that they crafted it for American audiences. This is significant to be sure. On the opening track, "Farewell," one can hear so many un-Boris-like traits -- a bit of Ride and My Bloody ValentineIsis (who were influenced by Boris!) there, a trace of Sigur Rós, Nadja, and Jesu, too -- that one wonders if this is a send-up spoof that's proof that they can do it better. Even if that's so, it's only a part of this glorious slab of din and rock-is-power's puzzle. Takeshi (bass, vocals), Wata (guitar), and Atsuo (drums, vocals), have not followed in the footsteps of their younger countrymen Mono in crafting dramatics and dynamics, as evidenced by the title track which follows. If anything, this is raucous, riffing speed metal married to the garage rock trash aesthetic of Guitar Wolf. Here is where Atsuo's rim shots match in triple-time the low-string, down-tuned, freakzoid riffing of Wata's and the pure squalling throb of Takeshi's bass wail. Fuzzed out, ripped and torn and shredded riffs and propeller kit work take Boris to an entirely new level of "heavy." The rootsy metallic thrash of the band outdoes anything they've done before -- "Woman on the Screen" sounds like Iggy Pop fronting the MC5 of Kick Out the Jams in the Sunn 0))) era -- all in two-minutes-and-thirty-eight seconds. Speaking of Sunn 0))), "Blackout," a crawling, plodding, menacing scree of distorted bass and bluesy high-string electric guitar, is a track reminiscent of their earlier records, like Absolutego from 1996 -- and may have influenced their American counterparts. "Pseudo-Bread" is in-the-red in everything: distortion, speed, high-rocktane metal. The 18-plus-minute "Just Abandoned My-Self" employs everything used in the album to the moment. Beginning as a pure thrash metal burner, it begins its exploration of texture, noise, and sonic murder at a slower tempo in six-and-a-half minutes. It's like Acid Mothers Temple only more focused, and slower to evolve. Wata's guitar playing feels incidental to Takeshi's propulsive bass crunch and drone, which becomes pure controlled noise abstraction at about 122 minutes, and takes it out until only the sound of microtonal feedback remains, blasting everything into silence. PinkPink. It's an album to be reckoned with.
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