Composer Reacts to Boris - Flood (Live) (REACTION & ANALYSIS)

Bryan reacts to and talks about his thoughts on Boris - Flood (Live in Tokyo)
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[@dimiko8232]

First of all, your reaction to the bass rumbling at 18:48 was priceless. The mix of shock, disbelief and amazement - all in one moment! Anyway! Flood was a very important record for Boris. Before recording this in 2000 (this live recording is from 2012), their sound palette mostly consisted of drone metal similar to Sunn O))) and very heavy sludge metal. With Flood, they decided to explore more intimate atmospheres, heavier contrast, and better songwriting and musicianship than they did before. In short, creative process behind Flood helped these guys in evolving as a band and finding their place in wild west which is the Japanese music world. When it comes to differences between this live version and the 70-minutes studio recording, which I just relistened to in full: The difference in length is caused by replacement of Part 1 (almost 15 minutes) with that noise intro (4 minutes), Part 4 and the whole outro "undertow" section being much, much shorter (16 minutes shorter I think) and lastly, the live rendition being not as repetitious as the studio counterpart. Originally, Part 1 (kzbin.info/www/bejne/f6ipp36HfMxnl7s) is supposed to represent the storm before the flood, with the growing repetitious clean guitar lines resembling the increasing rain and those heavy sound drops symbolizing thunders. I think they play this noise intro to immediately cut into the storm and, of course, to shorten the song length, but it kind of worsens the experience of the whole piece without prior knowledge of the original. Part 4 (kzbin.info/www/bejne/baSqnqupeZJpa8k_) on studio version is much bigger nightmare fuel than on here too. What remains of the guitars is a mere echo that phases throughout the rest of the song. It represents the destruction caused by the flood very well. The sound quality of this live performance is miles better than the studio one. Most parts on the album version (I think besides part 3 only, which is the lead up to the very distorted section and the heavy part itself, when the flood finally comes) sound like they were recorded on a Sony Walkman, which adds to the mystery of the titular flood, sure, but because of the live recording not being so compressed, it creates this very enveloping sound that makes my listening experience much more immersive. Boris plays most of the time as a trio Wata - lead guitar, Takeshi - rhythm guitar, bass (he plays on a double neck 4/6 guitar bass, which is visible on the cover of this recording) and Atsuo - drums (also he does the supporting vocals and hits the gong one time on here!), but for this live tour they recruited Michio Kurihara, who played the rhythm lines which Wata was supposed to play originally. This let Wata shine with her soloing skills (11:18 to 14:20 & 22:30 to 24:47), which are absolutely mind-blowing. As a side note, this "violin" which enters on 3:48 is actually Wata utilizing Ebow on her guitar. It 's a convenient electronic replacement of the regular bow, which is tough to handle when playing on a guitar. I'd like to thank you, Bryan, for this reaction and analysis. Honestly, I was kind of worried that it would be too difficult for you to pull through this behemoth of a track, but not only you managed to sit through it, you came up with an analysis that helped me understand why this song feels so... aquatic, free-flowing if you will. It's not only the atmosphere at display here, but the interplay between the guitarists and the drummer. Also, that remark about the mix being a balance of dirtiness and cleanliness was just spot on. I have to agree, this feels more like a performance art than just a song being played live. You really deepened my love for this track, which I didn't think was really possible!

[@ckokomo808]

Thank you for this comment. I’ve seen Boris and listened to some of their newer stuff. I’ve found that bands like boris demand your attention but they payoff is huge. One of my buddies is in a funeral doom band which was my first introduction to this slow moving music. After listening to their album a few times, it clicked. This song was definitely worth the listen. Your comment gave some important context. I just need to take a weekend and listen to their discography.

[@CriticalReactions]

Thanks so much for this context. I think I'm good just listening to this abridged version, especially if the original's production wasn't great (intentionally or not). It is pretty cool that this was a huge stepping stone for the band though.

[@jsan2548]

The intro in the studio almost has a Steve Reich minimalist quality to it, but more belabored. I feel it really adds to the overall piece. But it get it. Minimalism isn’t for everyone.

[@binaryghost3626]

The noise at the beginning is a palate cleanser. In the original recording there’s 15 minutes of a clean repeating pattern with modulating delay that puts you into a sort of trance, so when the real song starts you’re disconnected from whatever was running in your head when you started listening.

[@rhysevans4537]

Yeah totally, but it's actually Reich esque tape based . Two tape recordings of the same guitar parts slowly going in/out of phase with each other because of variable tape play speeds. :)

[@giddycadet]

the original part 1 motif is actually in 7/4! which is pretty cool

[@cyberdrace]

It's no accident that their previous album was called "Amplifier Worship". Their guitar tone is kind of legendary, it's up there with Earth 2: Special Low Frequency Version or bands like Sunn O)))

[@vishnu2407]

Your pfp is goated

[@nuichos]

Hello. I am japanese. Seventeen years ago, I was obsessed with Boris. I write down what I remember from that time. ・The guitar is Gibson SG. It's customized, and the 6th string uses for bass guitar string. ・Wata on the guitar is a busty woman. This is the only one I remember. But it's a cool.

[@binaryghost3626]

The guitar is not SG. Wata plays a custom Les Paul and Takeshi has a custom First Act double neck where one part is guitar and the other bass.

[@baldrick98007]

And I would hardly call Wata 'Busty'.

[@glaper]

⁠​⁠@@binaryghost3626i may be wrong but the sg comment could be in reference to takeshis double eb bass sg guitar that he used before the first act

[@jakemillward509]

“Golly, what a fat bass tone!” - Boris’ discography in one sentence.

[@MrAcidKnight]

Fuck yeah! Boris have the craziest discography on the planet and I love them for it. Also yes, the tone is fucking monstrous, it's their signature. I saw them live at the end of 2019 with my dad (R.I.P dad, I love you), just before covid happened and I shit you not, the volume was so insane that dust and flakes of paint were falling from the ceiling of this grotty little basement venue. Incredible experience that I'll never forget. Also, to answer your question in regards to noise. Boris has an album named Amplifier Worship. A huge part of drone doom - that being Boris's roots - is the tone. Whereas death metal might strive towards crunchy, stomping riffs and black metal might aim towards lo-fi production and cold, distant abrasiveness for their heaviness; the heaviness of drone doom relies primarily upon tone. Much of that tone comes from feedback and other assorted amplifier noise . Riffs are hard to come by in drone so we latch onto tone and the atmosphere it creates as a means to feel the music as opposed to rhythm or melody.

[@CriticalReactions]

Thanks for that context. Knowing that their intent is to make the listen feel the music, not emotionally but physically, answers so many questions about the choices that went into making this song.

[@MrAcidKnight]

@@CriticalReactions oh absolutely! Your thoughts on this being music that is best experienced live would be correct in my opinion. There's just something different about the sheer, physical weight of the sound of a drone metal band in a live setting. That moment where the bass comes in and the tone of it shocks you? Well imagine that moment but you literally feel it shake your eyeballs in their sockets.

[@c.f.pedraza4057]

Wata's solo in the first half, puts me in tears when I hear this version.

[@user-ww2nd4co2p]

best guitar solo ever written imo

[@neromxxn2252]

Starless 2.0

[@vitorbelfort]

The studio version is incredible. I hope you've listened to it since this.

[@craw_daddy97]

I was lucky enough to find a vinyl copy of “Rock Dream” - a live performance from Boris and Merzbow. Holy shit it is one of the best live albums I’ve ever heard. Their sound is so absolutely crushing and beautiful.I don’t know how I was lucky enough to find it on vinyl and can’t recommend it enough.

[@gloomba1642]

vinyl rock dream wtf I've only ever seen it on cd

[@lucidcharade12]

If you ever get the chance to see them live, DO IT! I've gotten to do so twice now. It's a 3 piece and Wata plays her guitar/a little synth work while the other guy plays a guitar/bass double neck along with their drummer who also has his trademark gong behind him. Watching Wata do this live is incredible. She does incredibly incricate and complex guitar work while just making it look utterly easy. If you ever see them live, bring ear protection, stand left to center stage so you can watch the beauty of Wata's guitar work, and bring ear protection. Yes, they play that loudly as someone who never wore it for any other bands. You're going to feel their music as much as you hear it, especially with how many Orange brand Amps they like to bring.

[@DigitalSHEBA]

Wata working that Ebow and wah-wha pedal is mythical sounding.

[@allyhewitt1300]

Bris are like a puzzle, you have to wrap your hed around the strange logic of the arrangement, that is then drowned in noise. Feedbacker and Dronevil are also worth a gander now you have the tutorial out of the way

[@trianglesfalling]

The instrument at 617 is an electric guitar played with an EBow.

[@markuselipka]

BORIS is an incredible outstanding creative and unique band since 1996(?) with a monumental discography full of surprises. i do not know any band with such a gigantic, colourful and convincing catalogue of works. i´m pretty glad to have discovered them many many years ago.

[@RAB6969]

i first happened upon Boris when i was looking into something heavier to listen to and got Amplifier Worship without ever hearing them before and i was blown away, literally. after i recovered i picked up most of thier earlier discography and was and still am amazed at how subtlely beautiful and brutally crushing they can be…even within the same song. as far as bands you could call heavy Boris is the one that i’m always ready to go on that sonic journey with. great review and analysis! check out more of thier stuff if ypu haven’t yet. peace.

[@jbh3074]

I get to see them for the first time in October doing Amplifier Worship and I can't wait.

[@dauls]

Boris is great, I have a love for long tracks that take you places and this one does just that.

[@lightcircular]

nice to see boris getting some more attention, especially this album (even if its the live version). one of the greatest things to ever touch my ears

[@BreakthroughGD]

I've always felt that the beginning of Flood personifies the tectonic activity which is what causes the flood in the first place - probably better represented in the studio version, though it would be harder to recreate in a live setting. The continuous tectonic activity eventually becomes destructive, causing the earthquake (represented by the buildup of drums, or in this version by the noise) which further down the line leads to the flood. As you said, it essentially serves as foreshadowing, but also as an observation of the processes surrounding the titular flood.

[@wolverine669]

Wouldn't expect to see Boris reaction. Glad you did.

[@d_walsh]

I want this album. It's too expensive

[@glueyprogg7273]

Very nice reaction and analysis.

[@pantsedjuniorhayseed4816]

hell yeah now we're talkin

[@ibbspelk5281]

This video is almost as long as the original song

[@Semprini537]

BORIS are very complex, every record is a different one. But theyr sound is....just BORIS. Hard to listen, but the reward is behind the corner

[@johnnyblitzkrieg8985]

Boris is great, but best to see live.

[@johnnyblitzkrieg8985]

I've been in love for Wata 20 years. Her Hizumitas pedal is something beautiful to crank my Iommi tube amp. I put a Rat or even DS-1 before it, the sound is IT.

[@progperljungman8218]

I'm glad I listened to this. Definetly an experience worth while. But I don't want to hear it in full again - EVER! It demands to much and gives me to little to enjoy in reward. Btw, that tone you thought might be a violin or digital, I'm quite sure it was a guitar. Wouldn't bet my life but pretty much. Thanks for a massive analysis doing this "difficult" song experience justice.

[@CriticalReactions]

"High demand, little reward" is a good way to word that. I'm glad I've heard it but doubt I'll revisit it. I can't imagine the full, original 70 minute version. It might be blasphemous to some but I'm happy just having heard this abridged version.

[@tom-lh7mg]

its just about one of the best songs ever and i come back to it at least every week, i have no clue what you mean with "high demand little reward". This song is pure bliss pure euphoria and freedom. I recommend the live version from 2001, its on youtube.

[@jsan2548]

@@tom-lh7mg As a massive Boris fan, I’ve come to accept that some folks just aren’t built for this stuff. Doesn’t stop me from trying to drag everyone I know to a show though.

[@StoneAndMortar]

Man. There’s just no way. I’m glad folks can express themselves and that there is an audience for it… I say pretty often that if you want to have a crazy long track you gotta earn it - convince me there’s a reason the ideas couldn’t be separated… there’s just too little happening here to carry me through what is an insanely long play time. The action is pretty well condensed into easily discernible sections (for my tastes) and everything in between really over stayed it’s welcome. That’s without even starting to think over whether I ENJOY the bits of action there are. I gave it a shot! Im just miiiiiles away from the target audience for this beast.

[@CriticalReactions]

Thanks for giving it a shot.

[@pointlessmanatee]

I'm sorry about your ADHD friend

[@jonathanhenderson9422]

I've heard of Boris but this is my first time hearing them. Similar to Sunn O))) this is one of those bands that would probably be quite an awesome experience live, but without the sheer space and volume of a live venue this loses a lot of its impact through headphones or speakers because it's so much about the sheer sonic power of the climaxes, even if much of it comes via contrast. There are definitely elements of this I like, but it does seem way too long. Of course that's wholly subjective as I can easily see why someone would love getting immersed in this sound/aesthetic and going along for the ride, even if takes its sweet time getting there. While there are some bands I can enjoy going on these "long, patient rides" with I generally need a payoff that's more than droning "sound power" climaxes. It's an interesting listen, definitely worth experiencing once, but that's probably enough for me.

[@georgebush_4202]

Can you do immolation or hate eternal next as a death metal reaction

[@Semprini537]

Prog, Art rock? Wtf? Call it Post rock if you will,categorazing don't mind me