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Pink offers a lot of contrasting elements, none of which should be surprising for fans of Boris, but here they expand many of these elements to work together and produce an album with some surprisingly catchy moments adjacent to drone metal tracks. The whole works quite well, providing stretches of upbeat, well structured rock with more downtrodden and atmospheric songs. Boris has been putting together good amalgams of metal, drone and noise for sometime now; it's good to see their exposure is finally growing to match the strength of their catalogue.
Top customer reviews
Moody post-metal, fast hardcore punk, Sabbath-style metal riffs -- all these and more are slammed together for a hyper-drive trip, and it certainly makes great driving music! If you are looking for something to jolt you out of a slump and revive your faith in the healing power of ROCK MUSIC, look no further.
Great William Blake art on the insert too!
I'm more a fan of the slow-as-death doomy early Boris, but Pink is something special - a super tight rock album that does not relent from start to finish. It's all star great.
The three LPs come in a heavy paper box that folds into itself in the back, not the greatest design as it'll suffer quickly under wear and tear. The words "Boris" and "Pink" on the cover are actually cut out of the paper, with the pink inlay (lyrics sheet, credits, all in English) forming the colour of the letters themselves.
You also get an MP3 download, which gives you all the songs. The original 11 songs from Pink are in its original running order, but the whole album is eight minutes longer because the final song, "Just Abandoned My-Self", is eight minutes longer (just as it is on the vinyl version). Total running time is now 55:23.
The vinyl running order, however, is different, and four of the 11 songs are longer than the CD version (and they are all piled to the end of the running order). "Farewell", the arching droner that opens the CD is moved near the end (where, I suppose, it should be, although it doesn't quite become the final track), and the LP instead opens with "Pink", a blistering rocker that sets an entirely different tone. Two songs from the middle of the set, "Six, three times" and "Pseudo-Bread", are also swapped around, with the latter more than doubling in length (to 10:08). "Pseudo-Bread" is followed by "My Machine", which leaps from 2:01 (on the CD) to 11:14 on the vinyl. "Farewell" adds two minutes (to 9:32), and "Just Abandoned My-Self" adds eight minutes (to 18:14).
Funnily enough, it seems that Pink has more than its fair share of instrumentals - not only does Pink have two, "Electric" and "My Machine" (and "Blackout" being a near-instrumental, with huge chords/guitar wails and a short set of whispered, near-discernible lyrics), while the new set of previously unreleased "forbidden songs" from the Pink sessions has two more, "non/sha/lant" and "Tiptoe". Four in total for the whole set (or five if you count "Blackout")... weird.
Running through the songs on the MP3 download... "Farewell" is a huge, gloaming song that buzzes with deep, long chords, moaned vocals, and swooping crescendo choruses. Amazing. "Pink" is a howling, yowlping rocker that blisters and sears. It is pure rock pain! "Woman on the Screen" continues it with more of the same. They're practically the same song!! "Nothing Special" punks it up like the Stooges with fuzzy speed and double male vocals. "Blackout" slows it right down to a doomy dirge that haunts its own chapel. Some whispered lyrics, briefly, then a blistering guitar solo to beat them all. And BIG! DRUMS!! "Electric" is a bouncy rock instrumental - the shortest song on the album at 1:45, a bit of a dud, really. "Pseudo-Bread" howls and stops with a driving beat, stupendous. "Afterburner" is a bit psychedelic, cool and groovy with a deep, vintage needle fuzz. "My Machine" is a sweet bit of tender dream mood. "Just Abandoned My-Self" is a fast fast rocker that zooms on and on and on and on and on and on!! The original version is already long (10:14), this cranks it up to 18:14!! Of course, the new eight minutes are pretty much just a loop of some sort of big awful guitar noise glomming on and on and on and on... It actually constantly amazes me that a song so long never drags or gets boring... it's fun!!
As for the new songs, "Your Name Part 2" is a wistful, spooky little guitar number with psychedelic vocals and a hot build-up! Sounds like the perfect B-side!! "Heavy Rock Industry" starts with a big nasty crash of rock noise, a nasty drum break, then sheer badazz Boris!! A short number, runs out of steam quick. "SOFUN" rocks with great thundering avalanche noise, cha-cha-cha! Hard to get a bead on this one, it just rocks... and nothing else! But that's not a BAD thing, is it!?!? "non/sha/lant" is an instrumental that kinda plonks and meanders around a lot. "Room Noise" is a bit of a pop song of sorts, kind of strange. It's very sweet, and clearly didn't belong on the album, but it's nice nonetheless. "Talisman" is a spooky, scary doom rider with roaring vocals. Fun!! "N.F. Sorrow" is some sort of stoner rock drone with a driving beat. It's amazing. That is, until it becomes prog rock... formless... ambling... but still good! It's the longest of the "Forbidden Songs" at 7:51. "Are You Ready?" is built around a simple riff, but then becomes a big, nasty, raging beast. Thin, though, could be denser. But all good!! "Tiptoe", like "My Machine", is a slow instrumental with some beautiful soundtrack mood.
Oddly, for a recent Boris album, Wata does not sing any songs on this album.
In terms of the other lengthened songs ("Just Abandoned My-Self" described above):
"Pseudo-Bread" (original length 4:29, extended to 10:08) contains the original song, glomming on to a massive dissolve that becomes a horriffic, pulsing electro-magnetic drone-thunder. Hellish, but in a good way.
"My Machine" (original length 2:01, extended to 11:14) starts off like a totally different song with a few extra trills, then gets into the one we hear on the album, for two minutes, before going into an arching, sweeping solo that lasts for most of the rest of the song, before getting to some ambient cymbol noise, and a thematic return to the sounds of the beginning, combined with needly solo howl. Beautiful.
"Farewell" (original length 7:33, extended to 9:32) is all of the original, with two minutes of "remix" of the previous sounds of the song, with a bit of low-tone crescendo, and a recycle of the opening sounds, with a final fade-out. Perhaps the least interesting of all the four "extended" songs on the vinyl re-release.
With that out of the way, let me express how there should be no mistaking one thing: That "Pink" is, quite simply, a masterpiece. It is simultaneously heavy and melodic, dissonant and harmonic, brutal and beautiful. The album is also very richly colorful and nicely, deliciously textured, as Boris shade-in the songs' details with wonderful nuance and precision, and leave no detail unturned. As a result, "Pink" may require more than one-listen to fully absorb and/or appreciate, but one or more secret will reveal itself each and every time it is spun. As such, being one of the most rewarding repeat listens of 2006 helps to ensure that the record has long-lasting quality.
"Farewell" is a sprawling, seven-and-a-half minute long opening epic with soaring melodic vocals anchored by a distorted, fuzzed-out bass tone, grumbling guitars, and a crashing drum beat. Tracks two and three are surprisingly up-tempo numbers, the title track with its brisk, Motorhead-ish riffing, Melvins-esque drumming, and shredding melodic solo; and "Woman On The Screen" with its churning guitar leads chunked-up by a meaty, chugging bass bottom. "Blackout" stretches the playing time to nearly five-minutes, and plays like a bass-heavy instrumental track with brutal, booming, gutturally-rumbling, pounding bass lines, and brooding, jazzy, melodic, high-stringed guitar leads. But it is surrounded by two relatively short, overwhelmingly loud blasts. "Nothing Special" barely cracks the two-minute mark, and it also takes on another heavy, bass-heavy tone. It is backed by an Eyehategod-style grumbling bass intro, fat, distorted, churning bass riffs, and deft, bouncy drumming. The tune is also of note for adopting a catchy speed-punk-like vibe. And song number six, "Electric," is raucous and blistering instrumental interlude-esque number that clocks in only at a mere minute-and-forty-five seconds in length. It is propelled forward by killer guitar and bass riffs, and deep, rolling, bludgeoning, High On Fire-sounding grooves.
"Pseudo-Bread" is like the album's opener in that it offsets its massive, bullying, sludge-filled grooves and densely churning guitar and bass riffs with soaring melodic vocals. "Afterburner" could be a "Paranoid"-era Black Sabbath b-side, as it is full of heavy, doomy, Sabbath-y guitars and sludgy, downtuned bass. "Six, Three Times" is highlighted by memorable vocal patterns, a moaning, groaning bass intro, and an unorthodox, strangulated guitar solo. The album's closing, bludgeoning note ("Just Abandoned My-Self") is strong, but it is overshadowed by the song that preceded it, "My Machine," which is a very beautiful, trance-inducing instrumental interlude reminiscent of Burst, Neurosis, and Jesu.
On "Pink," Boris set the rulebook ablaze, augmenting their patented heavy sludge metal with a wealth of new influences that range from Fushitsusha-like noise rock to shoegazing metal to Earth-inspired drone metal to post-rock/metal to Led Zeppelin-ian hard rock to Stooges-worthy hardcore punk. By doing so, they have created the best and most epic, timeless, and meticulous effort of their storied career.
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Pink is like taking all of your favorite bits of every other Boris album, from their straight up heavy rock to their...Read more