Boredoms (?????) (or, more recently, V8redoms ) is a noise rock band from Osaka, Japan. The band was officially formed in 1986, although some date the band to bedroom tape experiments from 1982. [1] [2] The band's output is usually referred to as noise rock or sometimes Japanoise, though their more recent records have been largely based around repetitive minimalism, ambient music, and tribal drumming. The band has a vast and sometimes confusing discography. Many band members have rotated through the group over the years, often using a number of various stage names. Singer Yamantaka Eye is the closest the band has to a frontman; his style includes a range of baffling screams, babbling, electronic effects, and very heavy post-production. Drummer/singer/trumpeter Yoshimi P-We is featured on most Boredoms recordings.

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History

Formation and early years

Boredoms were formed in early 1986 (see 1986 in music) by Yamantaka Eye, who at the time acted as front man for the infamous and highly controversial dada-influenced noise/performance art act Hanatarash, ^[3] locally notorious for its extremely dangerous live shows consisting entirely of on-stage destruction and complete disregard for the audience's safety. The insane antics of Hanatarash would later be highly influential on the earliest incarnation of Boredoms, which was formed by the remaining members of a band Eye started with Hanatarash drummer Ikuo Taketani, as well as guitarist Tabata Mitsuru (known as Tabata Mara), bassist Hosoi Hisato, and vocalist Makki Sasarato, called "Acid Makki & Combi and Zombie". ^[4] The band's sound was characterized by violent, noisy punk rock/No Wave thrashings. They recorded a single track, "U.S.A.", for a compilation tape. Shortly after the release of their first song, Taketani was replaced on drums by Yoshikawa Toyohito, a friend of Eye's. The band officially changed their name to Boredoms after Hira replaced Hosoi on bass, and Sasarato left the band due to creative differences. The band's name comes from the Buzzcocks song "Boredom".

With the band finally reaching a level of stability, Eye and Tabata recorded their first official EP, Anal by Anal , in mid-1986. In early 1987, Tabata left the group to later join Zeni Geva and was replaced by Seiichi Yamamoto as guitar player. In March 1988, the band released its first full-length, Osorezan no Stooges Kyo . Due to unhappiness over Yoshikawa's drumming, Yoshimi P-We from Eye's Hanatarash-related project UFO or Die was asked to serve as drummer, becoming the first female member of the band, with Yoshikawa switching to general percussion. Shortly after the change Yoshikawa left the group, to be replaced by Chew Hasegawa (now of Japanese funeral doom band Corrupted) and then by Kazuya Nishimura, known by his stage name Atari. The band's sound from this period was marked by harsh, dissonant punk edited extensively by Eye in the studio, citing Sonic Youth and Funkadelic as influences, among others. ^[5] This style was seen by some as "pointlessly abrasive" without any underlying motive, making Boredoms nihlistic absolute music, according to some critics; however, the strangeness of the record increased the band's popularity in the musical underground.

Growing popularity

In 1988 and 1989, Eye found himself making friends with Sonic Youth and also worked extensively with John Zorn's polystylistic Naked City project, serving as guest vocalist. After the release of Boredoms' album Soul Discharge in the United States, the band was able to parlay their growing popularity into long term record deals with Warner Bros. Records in Japan and its United States imprint Reprise Records. With the release of the band's critically acclaimed Pop Tatari , generally seen as one of the strangest albums ever released by a major label, ^[6] Boredoms took to the road and toured with Sonic Youth in 1992, Nirvana for eight consecutive shows in late October and early November of 1993, and Brutal Truth in 1993. ^[7] During this period, the band was asked by Steve Albini to record a track for a compilation he was recording. Shortly after Eye again collaborated with John Zorn on an EP under the name Mystic Fugu Orchestra, which was notably the first album released on Zorn's Tzadik Records.

The following year, at the height of its popularity in the United States, the band was asked to perform on the main stage of the 1994 Lollapalooza tour in support of the album Chocolate Synthesizer , which had just been released in the United States. The album proved largely successful for such an experimental band and was later considered one of the best albums of the 1990s by Alternative Press magazine. ^[8] Yoshikawa had later joined the band in the early months of 1994 for a second time to play on Pop Tatari , often sharing vocal duties with Eye, but left again in 1994 and was replaced on percussion by EDA, who had been introduced to the band by Pavement bassist Mark Ibold. The band was dropped from the Reprise roster, ^[9] with Birdman Records distributing the band's Super Roots EPs during this period.

By the time of 1998's ''Super Go | |! EP and full-length Super æ, the band started to break sharply from their earlier atonal noise rock/Japanoise sound by introducing many elements of sweeping electronica effects and thoroughly constructed psychedelic rock jams into their music. Perceived analogies with the music of Can became common during this period. Described as "tumultuous space-sludge" ^[10], Super æ has most often been compared to the defining elements of 1970s krautrock. ^[11] Soon after its initial release in Japan, Super æ was met with a considerable amount of acclaim from the international music press, recognized as a modern day avant-garde artifact and progressive "masterpiece". ^[12] Notably, Super æ'' was considered one of the best albums of the 1990s by Pitchfork Media. ^[13]

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