Japanese rock band Boris showed its musical prowess on the international stage at The Belasco on Nov. 22, combining a unique blend of sludge metal, drone, shoegaze and psychedelic rock.
Boris, which got its name from a song of the same name from the 1991 album “Bullhead” by American rock band The Melvins, was formed in Tokyo in 1992.
The band is composed of drummer Atsuo Mizuno, guitarist and bassist Takeshi Ohtani, and guitarist and keyboardist Mizuno Yoko, who goes by Wata. All three also lend vocals. Since its formation, the band has grown from a promising act in the Japanese underground scene to an international force.
Drummer Atsuo looks out at the audience from the drum set. (Photo by Avidha Raha) (Avidha Raha)
“I have been listening to their music for many years now. They do not just play metal. They are experimental with their music,” said Trina Lin, a longtime listener of the band.
The show began with an opening act by the Los Angeles-based band Lack of Interest, known for their hardcore punk music.
Soon after the opening act, all three members of Boris came up on the stage in long, flowy, layered dresses. They formed a triangular structure, with nobody taking up the center stage, signifying their equality and unity.
Atsuo rises from his seat, holds a Gong mallet up high. (Photo by Laury Li) (Laury Li)
Drummer Atsuo started the set with a literal bang on the giant Zildjian gong that hung behind the drum set. The slam on the gong reverberated through the indoor venue, a spiritual act in itself, ushering in the music and calling back to their roots in Asian culture.
“[The band is] influenced by many things: music, of course, fine arts, literature, movies, animations. In particular, what has impacted [them] is the scenery that [they] see while on tour,” wrote a representative of Boris. “Wata loves old psychedelic music, including Pretty Things, Pink Floyd, Funkadelic, etc. Minimal music and drone music also have psychedelic aspects to them.”
Audience moshing during the concert. (Photo by Avidha Raha) (Avidha Raha)
Beginning with headbanging, the audience gradually started a mosh pit, despite stickers around the venue stating no mosh pits were allowed. It was a subtle form of rebellion, adhering to the spirit of the music.
Wata performs guitar on the stage.(Photo by Laury Li) (Laury Li)
The entire set ranged from heavy metal to melodic. The atmosphere was not of a standard “rock concert.” It was an immersive, almost meditative journey that oscillated between doom-drone ambience and aggressive sludge metal with pounding drums, face-melting guitar distortion and deep bass. The stage was dimly lit, often with smoke and hazy lighting, augmenting the sense of otherworldliness.
Takeshi sings on stage while playing a double-neck guitar-bass. (Photo by Laury Li) (Laury Li)
The songs gradually progressed towards the melodic finale with the band’s popular song “Flood.” One of the finest examples of the band’s droning skills, “Flood” is a 70-minute minimalist song fused with post-rock elements that lures the listener into a state of hypnosis and impending doom.
“I really enjoy the droning part, it lets me zone out,” said Elijah Vasquez, a resident of Palm Springs who drove all the way with his friends for the concert.