Union Transfer

1026 SPRING GARDEN STREET, PHILADELPHIA, PA 19123 Ι 215-232-2100

Boris Performing 'Pink'

Boris Performing 'Pink'

Earth

Sat, August 6, 2016

Doors: 7:30 pm / Show: 8:30 pm

Union Transfer

Philadelphia, PA

$20.00

This event is all ages

Boris
Boris
“We don’t feel comfortable calling Dear a return to our slow and heavy style,” says Tokyo’s amplifier worshiping experimental metal institution Boris. “We’ve been heavy since day one.” And it’s true. From the droning thunder of their Absolutego debut and through the cinematic crescendo of albums like Flood, the bombastic licks of the Heavy Rocks records, the punk rage of Vein, the bottom-dwelling psychedelia of Akuma no Uta and Pink, and the grimy thump of Attention Please and New Album, Boris has always attempted to search out new ways to level listeners with their sound. On the 25th year of their existence, the trio delivers Dear, an album they describe as “heavenly—far beyond heavy.”

Though Boris has traversed a broad swath of sonic territories, they have always been consistent in their embracing of excess, pushing their myriad of approaches and stylistic forays to points of intoxicating absurdity. But a time came in the early years of their third decade where the band wondered if there were any new horizons for the band to explore. Consequently, it was decided that the band would begin jamming on material for what was planned to be a record that served as a formal goodbye to fans. In a strange twist of fate, being unencumbered by expectations and having an open-ended approach to the writing process reinvigorated Boris. The renewed vitality yielded an album that fortifies their monolithic wall of sound while also allowing the individual band members to explore the nuances and intricacies of minimalist riffs played at maximum volume.

Album opener “D.O.W.N. –Domination of Waiting Noise-“ sets the tone for the record’s glacial pace and seismic rumble with vast swaths of sustained chords underscoring oscillator pulses and Takeshi’s soaring vocals. Songs like “DEADSONG”, “Kagero”, and “The Power” take the glacial doom of their early records and broaden the expanses of empty space to allow the chirp of amplifier tubes, the groan of strained speaker cabinets, and the sizzle of cranked distortion to transform their dirges into macrocosms of textures. It was a premeditated strategy, with the band deliberately scaling down on instrumentation in order to allow more color, detail, and tension to emanate from their protracted riffage. The galloping chugs and acidic guitar leads of “Absolutego” provide the most rock-oriented moment of the album, even though the song’s crushing timbre is cataclysmic even by the most down-tuned and heavily doped stoner rock standards. Brief moments of respite from the dimed amplifiers can be found on songs like “Beyond” and “Memento Mori”, where the band juxtaposes their deluges of fuzz with hints of ethereal dream pop.

Songwriting for Dear initially yielded three albums’ worth of material by the end of 2015, but as the band was slated to spend a large chunk of 2016 on their “Performing Pink” worldwide tour, they decided to hold off on releasing any new material. The tour further rekindled their passion, and when the band returned home they wrote several more songs and scaled the three records down to one. “At the very first moment, this album began as some kind of potential farewell note of Boris. However, it became a sincere letter to fans and listeners… you know, like ‘Dear so-and-so, this is the new album from Boris’ or something like that. We feel so grateful we can release this album in our 25th anniversary year.” Adding to that sentiment, Sargent House is grateful to release Boris Dear to the world on July 14, 2017 on CD, 2xLP, and digital formats.
Earth
Earth
Earth was formed in Olympia, Wa. In 1989 by Dylan Carlson, with an ever evolving line up including Slim Moon (Kill Rock Stars founder), Joe Preston (Melvins) and many others. After moving to Seattle and signing to Sub Pop in 1990 they would release 3 full lengths and an EP including “Earth 2”. Considered by many a definitive statement of the drone triumphant, others have described it as “the inevitable result of the damage done by downers to perception of time”. Whichever the case, its influence is undeniable. If it wasnt for this album, bands like Sunn 0))) simply would not exist.

In 1996 they recorded their final Sub Pop lp “Pentastar (In The Style of Demons)” in an abandoned Colt 45 factory. After its release the “group” disbanded and Earth/Dylan Carlson go on hiatus. 

6 years later Earth becomes active once more, with the addition of Adrienne Davies on drums. Unveiling it’s new cleaner, sparser, and more improvisational style. in September 2005 Earth release their first studio album in 9 years, diversifying their sound and pushing all perceived boundaries. With “Hex; or Printing in the Infernal Method” Earth create a intense, powerful album that defies restrictions of genre. The monolithic darkness of previous releases such as “Earth 2” is still apparent. though now shifted away from saturated and distorted guitar tones. Using compression, echo, tremelo, and reverb, it is a specifically American style. A “Black Americana” reminiscent of an immense desert landscape at dusk. It is a sound that draws on the influence of Duane Eddy, Merle Haggard & Roy Buchanan and fuses it with the vibe of epic visionary composer Ennio Morricone. Beautifully darkened, huge chords that resonate slowly while every single note is played with a precise conviction.

Where “Hex” reveled in dark satanic twang and austere american beauty, 2008’s “The Bees Made Honey In The Lion’s Skull” finds Dylan Carlson and the band growing into a harder, more rock, American Gospel and impovisitory direction framed by truly psychedelic production and blazing guitar sounds. Earth shows it’s affinity to the more adventurous San Francisco bands of the late 60’s and 70’s, and the more spiritually aware and exciting forms of Jazz-Rock from the same era.

The most recent records “Angels Of Darkness, Demons of Light - parts 1& 2” (2010 and 2011 respectively) serve as testament to the fact that they have come a long way since 1989. Drawing on inspiration from both British Folk-Rock bands Pentangle and Fairport Convention and the North African Tuareg band Tinariwen, the new material, while still “heavy” is much more fluid and melodically oriented, more textured and nuanced. It contains greater improvisatory interplay between the musicians.

On one hand they acknowledge previous recordings, cultivating the jazz infused Americana presented on “The Bees Made Honey In The Lion’s Skull” and on the other, there are significant changes which give birth to yet another new sound. The addition of cello, though subtle at times, adds a more haunting tone to the repetition throughout. Though such repetition may, at times, seem simplistic, there is absolutely nothing simple about holding a note as long as Earth do.


“The ongoing musical project which is Earth has always been concerned with repetition and the drone or THE NOTE. When I was younger and full of hubris I believed that a “pure” or “original” music could be developed in a static and removed state from other music. I now realize that music, especially music containing the drone or THE NOTE, and music that effects a spiritual reaction from the listener is a continuum. It is a music that has continued throughout time and manifested itself in a number of different forms or “genres” or"styles”. I began to see my music as part of and a product of that continuum. I also began to see that continuum strongly expressed in historically ‘american’ forms. Specifically the “genres” of “country” and “blues”. The truly ‘cosmic american musics’.
 - Dylan Carlson summer 2005.”
Venue Information:
Union Transfer
1026 Spring Garden St.
Philadelphia, PA, 19123