Boris - Japanese Heavy Rock Hits singles series

Im afraid that I have to set aside some time to discuss a band that Im sure most of my readers know of. I said in a previous review of The Dogs that if I was asked who my favorite band is, I would have to say Boris. Is there anything this band cant do? I know that alot of old Boris fans arent too keen on the new material (I can understand mixed feelings about the split with 9DW but I myself think its brilliant) as apposed to albums such as Heavy Rocks or Akuma No Uta. I for one think Pink is one of the best records ever recorded. And with the release of Smile, it is evident that the band wishes to explore music even further than they have before, and they have explored deeple. We found ourselves with an almost radio friendly Boris... Almost.

The exploration continues with a 7" series entitled Japanese Heavy Rock Hits Vol. 1-4 released exclusively through Southern Lord. Four singles were recorded, but only the first three were sold as seperate units. To recieve the forth single, you must have been on the subscription for the series making Vol. 4 a rarity and instant collectors item (I believe subscribers also got an exclusive t-shirt). The first three singles have two tracks, while the last single only has one. Putting it all together, you could say that its Boris' new album with seven songs clocking in at just over 37 minutes.

Vol. 1 starts off with the track entitled "8". It starts off with that signature Boris tone riffing off somewhere in the distance before it kicks off into gear up close and personal with a full out rock song which with the aid of the vocals manages to pull off a dreamlike or if you will, an ethereal feel. The rock keeps coming with the singles second track "Hey Everyone" in much of the same style. Mean tone, airy vocals mixed with excitable rock vocals with distortion galore. Perhaps a little bit on the glam side, but if all glam rock was this good, I would be running a glam rock page.

Vol. 2 kicks in with H.M.A (Heavy Metal Addict). It was a killer song the first time I heard it. It has a quirky intro but a solid main riff, and by main riff I mean only riff. The structure of the song is extremely primative to say the least, which I thought was weird upon listening to it. Still I enjoyed it thoroughly. I watched the video on youtube for this and have begun to wonder if this track isnt a jab of some sort. Perhaps a point to be made about being one dementional and not exploring sound. Not cornering yourself. The video is posted at the end of the review if you are interested in seeing the antics behind my thought of the deeper meaning of the song. The deeper meaning behind it comes out more to the tracks B side "Black Original" which shows Boris playing with more of a dare I say Krautrock style sort of reminisent of Circle yet undiniably Boris.

Vol. 3 is something all its own. As its predecessers were based around rock grooves and additude, Vol. 3 opening track "16:47:52..." focuses on a more mild approach which can be heard on the She's So Heavy Split with Wata and Ai Aso with a trance like semi psychedelic folk with a Solo by Wata that all fans of Boris have come to adore. The flip side show Boris reverting back to its heavy drone style, with an interesting twist of adding vocals over the wall of feedback. Something Boris normally doesnt do. The track is somewhat simular to "Parting" on Pink, but a more raw style to it.

This leads us to the final installment of the series. Vol. 4 being free to those who subscribed for the series, one cant complain that it only has one song. But upon hearing the song, while leaving you needing more, the one song is definately enough. The track is entitled "Seasons" and the track sees Boris really step out of their shoes and play pure psychedelic rock that could easily be mistaken for something from the mid to late 60's. Masterfully written, the song is definately the stand out track for the series. Save the best for last was definately applied in this situation.

Boris continues to dominate the underground, and are right at that level where they could break the mainstream. I personally find Boris to be one of the most important bands in music today. With their musical experimentaion which ends up dominating any genre they touch, they will appeal to anyone at any time. They are a one stop shop band if you are of ecclectic taste. Shoegaze to rock, drone to pop, psychedelic to ambient. Where ever you wish to go musically, Boris is a good bet in my books.

I cant embed the video, so here is the link to the video H.M.A

http://www.youtube.com/watch?v=oEDKobNkkvA

http://www.myspace.com/borisdronevil

Fanny Adams - Self Titled (1971)

If you are one who is on the search for obscure hard rock from the late 60's and early 70's, then Fanny Adams' self titled and sole release is something you should definately give a listen to. Progressive blues rock that was born into obscurity. The album was recorded in London in 1970 but would not be released until 1971 after the band had already ceased to exist. The name of the band is in fact the name of a little girl that was brutally murdered in 1867. Her limbs were removed, and all her innards taken out. A rather brutal name for the band if you think about it.

The name doesnt portray their sound however as their sound is a progressive blues sound at times touching on Jazz (the track "Yesterday Was Today" being a prime example), and fronted by one of the most soulful singers I have ever heard in a rock and roll band. The opening track "Ain't No Lovin Left" is a heavy blues number showcasing the bands heavier side. Had the album continued on in this fashion, we would most likely have our earliest example of a sound that would become known as stoner rock.

The albums second track "Sitting on Top of the Room" shows a more eerie, ethereal side of the band based on acoustic guitars and letting Doug Parkinson's soulful vocals take the lead. And he does just that as the song brings a real mellow feeling as I listen to to this track. It breaks in and out of a progressive folk jam to establish seperate moods and help build on the climax at the end of the track. "Yesterday Was Today" kicks it up a notch with its jazzed out rock that acts as a shaker to bring you out of the mellow state left in from previous track.

"Got to Get a Message to You" see's the band make their way back to heavy blues rock with plenty of groove much like the albums opener. "You Don't Bother Me" shows more of their progressive rock side, which comes across as kind of folk rock inspired with the rythem being lead with an acoustic guitar. "Mid Morning Madness" is their last blues rock song, and the heaviest out of them all spending five and a half minutes on one riff while building upon it till it becomes a wall of sound. The albums final track "They're All Losers, Honey" is a little mix of everything on the album. A jazz inspired progressive blues jam infused with soul by Parkinson's vocals, including what is the only real guitar solo on the whole album.

From front to back, the album is a solid piece of work. Its more of a mellow blues rock album, but plenty heavy on its own level. Doug Parkinson's vocals are a driving force in their sound, leading the group over repetative riffs adding to the heaviness of their sound.

http://www.myspace.com/fannyadams71

Quest For Fire - Self Titled (2009)

Since the explosion of Nickelback in popular music, Canada has been hard at work making up for the audio blunder we released on the world. Quest for Fire are a perfect example of this hard work. Hailing from the home to other notable artists such as Sons of Otis and Blood Ceremony, Toronto would seem to be a varitable hotbed for true rock and roll music. By that, I of course mean that fuzzed out sound of the early 70's.

Quest for Fire saw their first release this summer after being picked up by Tee Pee Records. Anyone reading this that knows of Tee Pee Records knows that if a band is on that label, they should be prepared to hear some fuzz drenched rock and roll, and Quest for Fire certainly will not disappoint. The album kicks off in full gear with "Bison Eyes" blowing out of your speakers in a haze creating a furious spaced out wall of sound that will numb your senses.

The albums second track "Strange Waves" brings the tempo down to a more folk rock approach while keeping the fuzzed out heavy crunching wall of sound, complete with with harmonica which will leave you feeling peaceful. The feel somewhat continues with "The Hawk That Hunts The Walking" with a more spaced out vibe than the previous two tracks.

"Ive Been Trying To Leave" kicks it up a notch to a more solid rock based song as heard on "Bison Eyes" before slowing down to a crawl for the albums slowest, yet most moving track `You Are Always Loved`. The albums final track `Next To the Fire` is the perfect example of the bands overall sound, taking every element heard on the album and rolling it into a neat little package. Mellow guitar leads covered in droning waves of sound from the guitar and bass topped with crashing drums making for one of the best examples of a wall of sound I have ever heard.

If you took Dead Meadow, Earthless, Black Mountain and Earth (the Pentastar album in particular) and mixed them up in the proverbial cauldren, Quest For Fire would indeed be the result. Heavy spaced out jams bordering between shoegaze and heavy rock reminiscent of songs of old while sounding absolutely fresh. Spaced out heavy psychedelia that any fan of desert rock to psychedelic, drone to doom metal, blues rock to space rock can enjoy.

http://www.myspace.com/questforfireband

The Dogs "Fed Up" 2001 release of 70's rare recordings

If asked what my favorite band is, I would have to say Boris. There isnt a thing they have done that I cant listen to. I have been doing my best to locate anything Boris has done, and in my search I found myself looking for a song they did on a Japanese tribute album for a band called The Dogs.

While I have been unable to locate the said tribute album for the Boris song, the search for the said album lead me to hearing the original recordings of this band I had yet to hear. The Dogs born into obscurity from the wake of the Amboy Dukes, The Stooges and MC5 in Detroit back in 1969, but wouldnt see their first release until the first single, "John Rock Roll Sinclair" was released in 1976.

The Dogs would record some singles, no formal full length album would be released during their 10 year career. Fast forward to 2001 and The Dogs would see Dionysus Records release the compilation record "Fed Up!" consisting of all their early recordings and some live tracks. The Dogs took this time to hit studio and deliver all new material for their first full length release in 34 years. 2007 would see the Japanese Dogs tribute which led me to the discovery of this seemingly lost nugget.

While the new recordings themselves are really good, which are more on the punk side of things since the 70's material, its the original recordings that I wish to discuss. I have been listening to this band for a short period of time, yet when I listen to the Fed Up compilation I hear these songs that are pure slabs of rock and roll the way it was meant to be. The Dogs play balls to the walls rock and roll that you would expect out of Detroit at that time and at times reminds me of Rocket From the Tombs, or is it the other way around?

The new material isnt anything to sneeze at either. in fact its some of the better "punk" rock being created probably since around 1984. But for the old recordings, they just have this timeless feel that is hard to find in a band. Honest and true rock and roll that wont disappoint including their cover of "Shakin all Over".

Derek Edward Kellington

http://www.myspace.com/thedetroitdogs

Icecross - Self Titled (1973)

Out of Iceland at the beginning of the 70's, Icecross shows us that you cant find nuggets anywhere if you dig deep enough. Formed in 1972, the power trio managed to record an album that was released in early 1973 before melting away into obscurity. Not much is known of the band and when they broke up. Even the release date of their sole effort is speculated, but any information i find leads to it being released early 1973.

The cover of the record as seen above was quite ahead of its time, and gives off more of a grindcore or perhaps a black metal vibe. Should you listen to the record, I think you will find that the cover properly represents their sound. Dark, heavy and raw would be the best way to discribe this trio's sound.

Their sound is laid in hard rock but transcends into progressive which adds to a more sinister sound. The dismal opening track "Solution" features eiree vocals that are on the edge of chanting that will satisfy any cult rockers out there. The band then slows it down down for an acoustic break up ballad accompanied with piano showing that they are not one dimentional.

"Jesus Freaks" continues with with the heavy, dark progressive sound proclaiming jesus freaks as "disgusting people". Quite a statement for 1973 to catch on vinyl. "Wandering Around" kicks in and you cant help but move to this more classic style of early rock featuring cowbell... yes, cowbell. The song is definately a mover and shaker for those of you who like to dance.

The track "1999" (do i need to discuss the lyrical content?) quickly departs from the upbeat rock of "Wandering Around" and finding its stride with the opening track with a more chanted vocal line and menacing guitar work. "Nightmare" shows the bands more aggressive style with what could be classified as having a proto hard core punk feel. In fact listening to it brings to mind Black Flag or perhaps even early Saint Vitus.

The break out track or the album is also the last track entitled "The End". I swore to god that if I heard one more song called The End, I would flip out. Well due to its age and the fact that it is just a great song, I give this one a pass. Based on an acoustic guitar, "The End" puts the final touches on the record giving it more of a "Cult" feel.

I only discovered this band yesterday, and I cant stop listening to it. Front to back, I feel this is a solid album with stylistic changes that work. This is an album I dont foresee ever getting bored while listening to it. The production is weak, and the band wasnt exactly tight. I for one would say the record is an acheivement for a first record (and only). Had this band stuck together, I cant imagine what they might have done. A drawback of being from Iceland I guess.

http://www.myspace.com/icecross73