2024-02-11 10:01:40
The two Japanese great powers Boris and Coaltar of the Deepers cover themselves on the split EP (which comes with an associatively acid-etched, abstracted nightmare Mickey on the cover). Hello There yourself, each other and others.
That the icons Boris big fans of the cult worshiped in many places Coaltar of the Deepers are not just since 2019 and their interpretation of To the Beach known. When the band – currently Atsuo (Vocals & Electronics), Takeshi (Vocals & Guitar) and Wata (Guitar & Echo) are also joined on the drums on Muchio’s record – now the song Serial Tear from the 2007 album Yukari Telepath carried out, this suggests that there is competent expertise, which is unheard of.
Actually take over Boris the piece fits seamlessly into its own canon, leaving it more stoic, massive and muscular in direction Melvins-Sludge rumble until a slow motion in which Metallica perform as a stoner band in Shibuya in the organ twilight, drunk with kerosene and seduced by multiple cloned vocals and blast beats.
Serve beforehand Boris In direct comparison with their own form curve, there are already two examples of what the all-rounders have been doing more ideally since 2020 than in the previous decade.
Luna is from around 2011 New Album, where it was placed on a rushing, pumping, crackling-stomping beat, whose shimmering fairytale grind with symphonic score tendencies created a swirling spectacle complete with a jazzy ambient twist at the end. The new interpretation largely retains this orientation, but the digital rippling of the intro is now turned into a water feature and the long playing time is distilled a little, while the drums simultaneously sound more organic, powerful and solid, while the somnambulistic fog above becomes denser. Everything grabs you more intensely, thrills you more unconditionally and at some point it even booms like a sweaty club madness with epic guitar.
The optimization potential of the updates also applies in the direct transition Quicksilver continued. The wild punk rock breaker in the lo-fi outfit from Noise (2014) now gets from Boris The hysterical superstructure and the slowing metal mat have been trimmed down a bit (and ten years later the band has dispensed with the doom drone anyway, preferring to immerse the textures in the finish in a kind of sparkling nightmare, which goes well with the rest of the attitude of the split EP fits), but the quartet plays the song here with the aggressive verve, pressure and hunger of No and injects a biting momentum before the space rock spins freely in the powerful production.
Coaltar of the Deepers (also “Narasaki: Vo, Gtr, Prog; Kanno: Drums, Percs; Nagasawa: Bass; Negishi & Takatori: Gtr; Kenito: Tp“), on the other hand, live out the in-house weird aspects (primarily through production and the mix).
In Wipeout offers a kind of Japanese dulcimer as a poppy bubblegum motif, the stoically repeated guide, over which a washed-out Nu Metal riff is placed, over which later antiquated effects a la The Crystal Method (like directly from the Family Values Tour 99 or that Spawn-soundtrack implemented), while the androgynously distant singing is literally drowned in the diffuse methodology of repetition or counteracted by death growls, and the shoegaze of the Boris-Covers Melody irritatingly driven from the background by the fuzz. In Waterbird An ethereal dream pop veil lies over the rumbling noise rock staccato, which is ultimately infected by a delirious virus in a casino lounge.
Just that Coaltar of the Deepers for what is now estimated to be at least the third time, a new perspective The Cure-Classic Killing an Arab as Killing Another accept, expresses the impression of this side of Hello There a little: Matador fanfares welcome an unhinged delirium of drone and dark ambient hallucinogens, from which a kind of hardcore punk emerges at some point, but without peeling away from the demonic sound – which seems interesting on paper In practice, however, it is half-baked and does not reach the point.
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