The final lockdown

Yep, this really is it. Is This The Life? is going back to sleep. You may have noticed (or not) I've been doing some R.E.M. stuff for JC over at The (New) Vinyl Villain and will continue to do so. That's been fun up to now, far more fun than writing stuff for this place. Plus people actually read Jim's blog!

I'm signing off with something very loud, very heavy and very, very good. Japanese experimentalists Boris must be one of the most prolific bands in existence. Their discography is vast and complex so I'm not even going to hazard a guess at how many albums they've put out, but it's not unusual for them to release more than one album a year, with or without collaborators. No two albums sound the same, different styles are interwoven throughout their output over the years. Last year's 'LφVE & EVφL' sat proudly on my top 50 albums of 2019.

Boris' latest record was released a few weeks ago. Entitled 'NO', it harks back in places to their roots as a doom metal band, but it mainly has lots of of hardcore, thrash and black metal coursing through its veins. The songs are short - only three breach the five minute mark, with most clocking in at less than 3 - out of step with much of their other recent material. But these bursts of angry disgust provide the perfect soundtrack to our world right now. The band describes the album as "extreme healing music", a frantic catharsis in which the anger and frustrations many of us feel right now can be released in the form of a primal scream therapy with very, very loud guitars.

No, it's not for everybody, probably hardly anyone who's still reading, in fact. But for me, right now, this is aural heaven and is where this blog ends for the foreseeable future. I'm gone. Here's Anti-Gone. Stay safe.

It Came From Japan #3: Boris

Where does one start when it comes to Boris? Here's a band whose discography is, erm, complex to say the least. Since 1996, they have released 22 studio albums, a dozen or so collaboration albums, numerous compilations of non-album tracks and five live albums. Prolific isn't the word. This year alone they have put out three very experimental records of their own, plus a collaboration with Japanese acoustic outfit Endon. Many of their records come in different versions. There are Japanese and English language versions, with vinyl and CD releases often having different tracklists and/or mixes. They are, quite frankly, a nightmare for completists.

Boris cannot really be pigeonholed, though they came through the Japanese noise and punk scene and retain a large amount of loud, noisy and heavy elements in their music. However, their experimental nature has taken them down various paths over the years: drone, sludge, heavy rock, shoegaze, electronic, punk, prog. Whatever they do though, critical praise usually accompanies it.

For me, one of their best periods has been the first half of this decade. 'New Album' was one of three albums the band released in May 2011, and is probably one of their most eclectic. It definitely has a shoegaze element to it. Some of its songs also appeared on the other two records 'Attention Please' and 'Heavy Rocks' in different forms. 'New Album' though is the one I turn to most. The track Hope makes me think of what the Pale Saints might have sounded like if they made a record with Loop or Swervedriver. Hope also featured on 'Attention Please', that version being released as a single, but I prefer this one.

In 2013, 'Präparat' came out. Its sleeve looked like it belonged in the drone metal section of a record shop, but while there are elements of that, 'Präparat' actually runs far deeper. There's a host of styles criss-crossing with each other, though overall it's a lot heavier and rawer than 'New Album'. I absolutely love the track Aika from this album. I also absolutely love Quicksilver from last year's aptly-titled 'Noise'. It's just crazy nuts. Fast, loud, heavy and mental, it ends with a long section of droning guitars, taking us back to their roots.

I admit this will be far from everyone's taste, but I like to think there's something in Boris' extensive catalogue to appeal to many - as long as they're open minded. If you're still not sure, I've included a track they did with regular collaborator Merzbow back in 2007. It's a cover of the Beatles' I Am The Walrus. At the very least, the accent should make you smile...


Soundtrack:

• Hope - Boris (from 'New Album')
• Aika ~Elegy~ - Boris (from 'Präparat')
• Quicksilver - Boris (from 'Noise')
• Walrus - Boris & Merzbow (single)

This is (not really) the end, beautiful friends

Strange how our lives turn out, innit? Mine started somewhat ominously. Born out of wedlock to a young music-loving woman who worked for a newsagent and sang in a band. Unable to give me the kind of life she felt I deserved, she put me up for adoption whereupon I was taken in by two of the most wonderful, loving, caring and honest people that ever walked the Earth whose own musical tastes inspired and influenced my own. Years later, as a fanatical music-lover I would work for a newspaper and play in a band. Anyone believe in fate? Or is it merely coincidence?

In 43 years, I’ve come a long way, yet stayed the same. Whether my love of music came from my birth mother, or my mum and dad it matters not. I’ve carried it with me, for better or worse, and am showing no signs of letting it go just yet. While so, so many people my age have pretty much given up on music (in terms of discovering things that are new to them) and source their entertainment from dreadful commercial radio stations, I continually trawl the internet looking for that next record that will change my life – the next ‘Document’, the next ‘Doolittle’ – or the next band that will make my jaw hit the floor in sheer excitement and awe – the next White Stripes, perhaps. I’m not finished yet – there’s still so much to hear! How can anyone possibly declare that “music’s crap nowadays, it was so much better in the 50s/60s/70s/80s” (delete as appropriate)?

l-r: Frank Turner, Shonen Knife, Drenge, The Joy Formidable, John Otway

Just because you grow up, doesn’t mean you have to ‘grow up’. If I want to jump into a sweaty mosh pit, why the hell shouldn’t I? So far this year, I’ve seen Frank Turner, Shonen Knife and Drenge. The Joy Formidable and John Otway are lined up. It’s not nearly as many gigs as I used to go to back in my so-called heyday, and if I had the finances I’d go to a lot more, but it’s significantly more live music than most people ever bother to expose themselves to in their lifetime.

Does that make me a better person? Hmmm, maybe not, but I feel so much more enriched and fulfilled for those experiences. At least when I’m down in the dumps (which is quite often) and pissed off at what life has dealt me, I can look back on some of the stories I’ve told on this blog and tell myself: “You know what, my boy? You’ve actually had quite a lot of fun and some amazing experiences. Now stop moping and put some music on, you grumpy old bastard!”

And so we reach the end of my story. Don’t worry – it’s not the end of the blog, I’ve still got plenty to say. But over the past six months I’ve told you about the significant moments in my life and how music has played its part. And now? Well, music continues to pump through my veins as strongly as it did all those years ago when I discovered my mum’s ‘Music Explosion’ compilation album; when I got my first record player and Abba’s ‘Super Trouper’ for Christmas; when I painted a stripe across my face and jumped around to Adam And The Ants; when I attended my first gig; when I attended my first festival; when I had a job writing about music; when I played in a band; when the White Stripes changed everything; when I took my eldest daughter to her first ever gig – I still can’t stop myself being thrilled by music. The fire burns as bright as ever and long may it do so.

Now, do excuse me, there’s the new Boris album to listen to…


Soundtrack:

Quicksilver – Boris (from ‘Noise’)

End Credits – The Wedding Present (from ‘Valentina’)
Coming next:
My ongoing series of gigs, songs and albums will continue, and there's a special Glastonbury mini-series to come next week. But I still have a supply of topics to write about, some articles already written and a number of ideas in embryonic stages. While you’re still interested in reading, I’ll still post. 

The Metal Years

I was wary of heavy metal for a number of years, deciding without any real reason that I didn’t like it. I did, however, have a red vinyl 7” of Iron Maiden’s Number Of The Beast, but that was pretty much as far as my venture into the world of heavy rock went. I’m not sure what the catalyst was, but from about 15 I became more interested in the genre.  My cousin John had numerous early Kiss and Whitesnake records in his collection, Led Zeppelin and Deep Purple entered my consciousness through him too. But for some reason, I think it was actually Marillion who may have triggered my heavy rock gene. Strange, as Marillion weren’t a metal band or even that heavy.

It’s probably fair to say it was the imagery of Marillion that I found intriguing. Kayleigh had been a huge hit and introduced me to the band’s music. Once lured, I became fascinated by the artwork on Marillion’s record covers. Prog-rock and concept albums had passed me by up to that point; ‘Misplaced Childhood’, Marillion’s third album, was my first experience of this oft-maligned sub-genre. It wasn’t something I pursued in great depth, but maybe it made me realise guitar solos were nothing to be scared of.

I remember when The Final Countdown by Swedish hair-metal band Europe reached number one in the UK charts. To this day I can’t figure out how that ever became such a big hit, and at the time I thought it was awful. Then Def Leppard and Bon Jovi released records that sold zillions and I found myself *gasp* playing air guitar! I bought a denim jacket. I bought a real guitar and started to teach myself how to play it. Badly[1]. My hair grew gradually longer. I started scouring second hand record shops for Saxon records!

It wasn’t all bad though. When Guns ‘n’ Roses released Sweet Child o’ Mine and subsequently ‘Appetite For Destruction’[2], I discovered there was another type of rock audience out there. The leather-clad, smelly, bearded biker brigade (which wasn’t just a stereotype, they really did – and probably still do – exist) that frequented metal circles were not those raving about this new, younger breed of rockers. I remember Ian Bousted, a mate from college, introducing me to the likes of Skid Row and Dogs d’Amour, where the styles and fashions of the band members defied that stereotype. Sure, the hair was still long and the occasional pair of leather trousers may have made an appearance, but Spinal Tap they were not.I remained a bit of a metal head for a few years, though it was a part-time thing. Indie music came along and stole my heart, but I still flirted with the rock crowd for a bit. My nadir of this period has to be when I was talked into taking Andrew, a mutual friend of me and Ian, to a Tigertailz show in Exeter. He needed a lift and had somehow got a press pass to get backstage and take some pictures after the show. The band was, rather predictably, terrible. A shame because when we met them afterwards they were really accommodating and seemed genuinely nice guys.

I became quite embarrassed of my liking for rock and metal from college onwards, keeping much of it secret. Of course, it was fine to love Led Zep, early Black Sabbath, Hendrix, even AC/DC, but Saxon, Whitesnake, Maiden et al were off limits. Even liking Metallica was questionable. Over time though, I’ve become comfortable with my taste and refuse to pretend I like something just because it’s cool, or hate something just because it’s not[3].  In fact, I rate Metallica’s ‘Master of Puppets’ and ‘Ride the Lightning’ as two of my all-time top ‘heavy’ albums.

So, fast forward to 2014: I’m still not a big metal fan per se, but I do dabble now and again when the mood takes me. It’s also worth remembering how rock was changed for good when grunge and so-called ‘alternative’ music shook things up in the early 90s. Heavy does not necessarily imply ‘metal’ these days. If I do listen to ‘metal’ now, other than Metallica, Motorhead, etc, it’s probably going to be something towards the more extreme end of the scale. I’m rather partial to a bit of Napalm Death, and more recently have discovered Sunn O))), an experimental drone/doom metal duo who I find fascinating. Likewise, a Japanese band called Boris, who I am seriously into right now, whose roots are in doom metal, but who are waaaay beyond categorisation. This experimental side of the genre is in fact proving to be a bit of a revelation to me. It appeals to my dark, reclusive side and actually makes me feel better if I’ve been having a bad time. It also freaks the kids out somewhat, which is not necessarily a bad thing…

Soundtrack:

• Sweet Child o' Mine – Guns 'n' Roses (from ‘Appetite For Destruction’)
• Master Of Puppets – Metallica (from ‘Master Of Puppets’)
• Aghartha – Sunn O))) (from ‘Monoliths & Dimensions’)  
• Spoon – Boris (from ‘New Album’)

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[1] I succeeded at this – I still play guitar badly with remarkable proficiency.

[2] If I’m being really honest here, that album is still an absolute belter, even though Axl Rose has subsequently  proven himself to be a twat of the very highest order.

[3] For the record though, spandex trousers – as worn by the likes of Biff Byford of Saxon and many of his peers – are not cool, never were cool and never will be cool; I hate them.