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| Boredoms | |
|---|---|
| Name | Boredoms |
| Origin | Osaka, Japan |
| Years active | 1986–present |
| Genres | Noise rock, experimental rock, psychedelic rock |
| Labels | Shimmy Disc, Reprise Records, Warner Music Japan, Thrill Jockey |
| Associated acts | Hanatarash, Melt-Banana, Sunn O))), Lightning Bolt, Faust |
Boredoms is a Japanese experimental rock band formed in Osaka in the mid-1980s. The group gained international recognition for its abrasive noise, psychedelic improvisation, and large-scale percussion spectacles, performing at venues and festivals across Asia, Europe, and North America. Their trajectory intersects with underground scenes, avant-garde collectives, and major independent labels, producing a discography that ranges from harsh noise releases to rhythmic, trance-inducing compositions.
Formed by members with connections to Osaka's underground scenes, the band emerged alongside acts like Hanatarash, Merzbow, Sonic Youth, Swans, and The Fall during an era defined by DIY venues such as CBGB, The Ghetto, Club Quattro, and networks including John Zorn's scene and Shimmy Disc. Early releases drew attention from producers and labels associated with Kurt Cobain, Steve Albini, Chris Cutler, and David Tibet, leading to tours with Mudhoney, Dinosaur Jr., and Nirvana-era indie circuits. As their sound evolved they collaborated with figures from Brian Eno-adjacent ambient projects, Thurston Moore's initiatives, and experimental festivals like All Tomorrow's Parties, Wire Festival, and Festival d'Automne. The band's timeline includes lineup shifts parallel to movements involving Melt-Banana, Sunn O))) and ties to studios used by John Peel sessions and recordings associated with Reprise Records and Thrill Jockey.
The group's early aesthetic paralleled contemporaries such as Merzbow, The Boredoms', and noise collectives tied to John Zorn's downtown scene, while later rhythmic explorations invoked traditions linked to Sun Ra, Fela Kuti, J Dilla, and Can. Their palette incorporated elements associated with krautrock innovators like Neu!, Can, and Cluster, alongside influences from James Brown, Captain Beefheart, and psychedelic pioneers like Pink Floyd. Production approaches referenced techniques used by Steve Albini, Brian Eno, and Conny Plank, melding tape manipulation employed by Musica Elettronica Viva-adjacent projects and polyrhythms characteristic of Afrobeat and Balinese gamelan performances curated at institutions such as The Royal Albert Hall and experimental programs at Tokyo University of the Arts.
Key figures include the founder and vocalist who performed with collaborators in projects alongside artists from Hanatarash, Acid Mothers Temple, and Melt-Banana. Over time the roster shifted to include percussionists and multi-instrumentalists associated with ensembles that featured members of Lightning Bolt, Boris, Zeni Geva, and touring lineups that worked with producers connected to Reprise Records and Warner Music Japan. Guest contributors have included artists who appeared on releases alongside John Zorn, Yoko Ono, Thurston Moore, and members of Faust. These personnel changes paralleled collaborative performances with groups such as Sonic Youth at festivals like Coachella, Glastonbury Festival, and All Tomorrow's Parties.
Their catalog spans early cassette and vinyl issues released on labels associated with Shimmy Disc and P-Vine Records, mid-period albums on Reprise Records and Warner Music Japan, and later work on Thrill Jockey. Notable releases sat beside records by Sonic Youth, Swans, My Bloody Valentine, and The Velvet Underground in critical roundups. The band issued limited-edition singles and collaborative records with artists who recorded for Matador Records, Sub Pop, and 4AD, and have been featured on compilations curated by figures like John Peel and festivals organized by BBC Radio 1 affiliates.
The band became renowned for marathon shows that echoed large-ensemble percussive events similar to spectacles staged at All Tomorrow's Parties, Glastonbury Festival, SXSW, Coachella, and Pitchfork Music Festival. Their performances often involved guest drummers and choreographed improvisation linking them to artists who have headlined Royal Festival Hall and appeared on bills with The Flaming Lips, Can, and Sigur Rós. They performed at experimental venues associated with John Peel Sessions and international art biennials and participated in curated nights alongside ensembles presented by MUTEK, Sónar, and KRAAK Festival.
Visual aesthetics for album art, stage design, and limited-run packaging involved collaborations with graphic artists who have worked with Factory Records, Mute Records, and gallery shows at institutions like Tate Modern, Museum of Contemporary Art Tokyo, and independent spaces curated by Art Basel affiliates. The band partnered with filmmakers and performance artists connected to Yoko Ono, Matthew Barney, and multimedia producers from NHK and Channel 4. Video collaborators have included directors who worked with Radiohead, Björk, and comedians/performers linked to Cirque du Soleil productions.
Critics and scholars compared their innovations to movements associated with krautrock, no wave, and noise traditions exemplified by Merzbow, Sonic Youth, and Swans, leading to retrospectives in publications tied to Pitchfork, The Wire, NME, Rolling Stone, and academic work from departments at Harvard University, Goldsmiths, University of London, and Tokyo University of the Arts. Their influence is cited by bands on labels such as Thrill Jockey, Drag City, and Sub Pop, and by experimental artists appearing at venues like MoMA PS1 and festivals sponsored by Red Bull Music Academy. Legacy projects have included reissues overseen by curators associated with British Library Sound Archive and exhibitions coordinated with institutions like Victoria and Albert Museum.
Category:Japanese rock music groups