Eighteen years since their first release and 19 albums into their career, Boris are nothing if they are not prolific geniuses. You can count on them to release a challenging new album every few years, standing apart from the norm of what is expected, even from an underground band with a critical following. Their claim to fame is their chameleon-like ability to musically go from crushing sludge masterpieces, to post-rock gaze epics, to psychedelic prog-rock, thrash and whatever else their little hearts desire. To the casual observer, it might seem that the randomness of their musical whims are just that, whims. However, like a great novel, every Boris album at its core has every notion, theme, and every single note in its proper place. Whether you the listener is comforted, confounded, enraptured or frightened, they mean to take you on a journey to the center of your soul.

For a band that excels at making glorious noise, Noise (Sargent House) is not all that noisy compared to some of their more off -kilter releases. The vast majority of this album is a sublime exercise at heart tugging post-rock and shoegaze. Patient, methodical, uplifting and chilling all at once, these are some of the feelings that come to mind on repeated listens to Noise. There is just no way this album doesn’t move you emotionally. ‘Melody’ has an ominous entry into the album, but soon gives way to dreamy, uptempo beats and fierce singing guitars. The first few tracks are definitely fun and energetic, bringing the best this band has to offer in catchiness couched in a heavy sauce, akin to Queens of the Stone Age. Atsuo’s vocals soar and dominate, but also sooth you. A terrific opening. ‘Vanilla’ has more of the same jumpy beats and slick guitar work, with vocals from Takeshi. Changing pace, the more sedate, drone-laden ‘Ghost of Romance’ and doom mastery of ‘Heavy Rain’ are more standard fare for this band, but no less impressive.

After the light pop sunshine of ‘Taiyo No Baka’, the centerpiece of the album ‘Angel’ takes hold. At almost 19 minutes long, this is the best track on the album and easily one of the most dynamic, soul baring tracks the group has done. Wata’s guitar work is among her best ever. No one uses certain kinds of effects (delays, e-bowed parts) quite like she does. It’s slow, massive sounding, and pure Boris. No less epic, ‘Quicksilver’ is fast and angry, a mosh anthem with a brain. Closing out the album ‘Siesta’, sounds more like the hang-over the next day, rather than start of the party. Lucky for us, this band will always keep us on our toes, never turning complacent.

8.5/10

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KEITH (KEEFY) CHACHKES