One of the coldest nights of the year thus far couldn’t keep a near capacity crowd away from Richmond’s Corner Hotel last Wednesday. The draw-card was of course legendary Japanese three-piece Boris, currently in Australia as part of the impressive lineup for Hobart’s Dark MOFO festival.
Organised by the Museum of Old and New Art, Dark MOFO commissioned Boris to showcase their third album – 2000’s cult classic Flood– in its glorious entirety. The Corner sideshow was billed accordingly, guaranteeing fans a different set to that which Boris brought to Melbourne only last year.
Support on the night came in the form of local instrumental group Margins. The four-man group played a 45-minute set of art rock pieces set against some garish post-apocalyptic scenes of Hiroshima which were projected on screen either side of the stage.
Margins’ moody and spacey guitar melodies had a distinctly filmic quality, however their music could never be relegated to the ranks of mere soundtrack. The impressively distinguishing factor was the intricate and difficult rhythms the group utilised, which were played with meticulous care by what is obviously an incredibly competent rhythm section.
The Corner’s sound techs must be commended for their efforts on the night, as Margins’ flawless navigation of their own challenging compositions was allowed to shine with perfect clarity. A support act of such high quality worked to further heighten the already perceptible air of anticipation ahead of Boris’ appearance.
When the main act did make their way onto the stage it was with no small amount of pageantry. Their impending appearance was heralded by a low rumble, which grew in droning intensity as the three members took up their instruments.
Before stepping behind the skins, drummer Atsuo worked up the crowd and held up two black-gloved devil horns. This was an indication of what was to come, as the band opened by launching into ‘Huge,’ a sludge/metal track so heavy, it could well have been written by Satan himself.
Boris’ incredible versatility was on display early as they then shifted into ‘Rainbow,’ a more spaced out post-rock piece that featured female vocalist Wata’s intoxicatingly sweet voice before she destroyed the audience’s eardrums with a piercing guitar solo.
Playing his double necked ‘guitar and bass in one,’ Boris’ third member Takeshi took control of the next bracket of songs which included favourites such as ‘Pink’ and ‘Statement.’ These more punk and thrash influenced tunes were played with fearsome intensity and astonishing precision, well-documented trademarks of Boris’ live performances.
After this initial 40-minute set of ‘hits,’ the time had come for the promised performance of Flood/ Of course the Japanese band went about performing the album in typical Boris fashion. The 70-minute album was not reproduced note-for-note, but every moment of the slightly condensed live version was recognisable to fans of the album.
As the performance flowed through the four movements of the album, the audience was drawn along by a band so beautifully in sync, it was impossible not to be enchanted by its members and the music they were creating on-stage.
From the dreamy repetitive guitar melodies that exemplify the first half of the record to the earth-shatteringly loud droning progressions they build into, Flood is an exceptionally moving piece of art. To witness it performed with such meticulous skill as well as the freedom that can only be offered in a live setting was a treat that will not be soon forgotten by all those in attendance
