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Boredoms – Super Roots 1,3,5,6,7,8

Label: Very Friendly Format: CD

The Super Roots series is an epic series of compilations containing previously unreleased material from the Boredoms. Previously unreleased in the west, at least. The series is as ever shifting and hard to pin down as the band themselves, which makes Super Roots a good introduction to the crazy noisy creative genius of the Boredoms. There are some absolute gems in the series, which contains a broad spectrum of material from the Boredoms. Rock, dada, noise, tribal percussion, more psychedelia than is good for you, remix CDs, full length albums, and epic CD long monster tracks.

Being new to the Boredoms I made the fatal mistake of asking the question: what do the Boredoms usually sound like? What would be a good reference to judge the Super Roots against? So I immersed myself in Seadrum/House Of Sun, Super Æ,

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Snares – Sabbath Dubs

Kriss

Sanres - Sabbath Dubs Donning a swift alter-ego for a heavyweight re-rendering of a pair of Black Sabbath classics, Aaron Funk proves that he’s as adept at the dub(step) as he is at splattery digital grinds when the Venetian part is elided from his Snares moniker. It also comes as no surprise that the record should appear on Bong-Ra‘s label Kriss, given his [post=”bong-ra-grindkrusher” text=”penchant for mashing up old-school grindcore in a breakcore style”] himself.

One for stoners of both the rock and dub variety everywhere, the lovely marbled green 10″ vinyl heaves with heaviosity, the splicing of “Black Sabbath” with wobble-bass is one reggification which works on so many levels, and it sounds like the tune was made for splicing into a dubstep haze of clattery drums and earth-shuddering low end. Funk’s bassline follows the original so closely that it’s

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Sunn 0)))/Chrome Hoof (live at the Queen Elizabeth Hall)

Meltdown 2007 Queen Elizabeth Hall, London 18th June 2007

Chrome HoofThe smoke and glitter which characterises Chrome Hoof‘s performance at Meltdown 2007 is something of a wonder to behold. Unleashing a brain-boggling riot of progtastic disco – complete with intoned disclaimer for any responsibilty for the effect of the show on the audience at the start, this thirteen-piece bunch of silver-clad space invaders proceed to set out to do their level best to give the term weirdo a good name.

Chrome HoofIt’s a good thing that Chrome Hoof have a stage big enough to fit them all on with room to spare, and it later becomes apparent that the troupe will make the most of the freedom a nice bit of

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Tony Conrad/Paavoharju/Richard Youngs/Islaja (live at St Giles In the Field)

St. Giles in the Field, London 1st June 2007

I hit the church shortly after opening time, still muddleheaded from work, the sun only just beginning to slip it’s way behind central London’s monstrous office monoliths, and St. Giles’ church is already packed, a situation not helped by the decision to close off the balconies.

I succeed in grabbing a pew toward the back though, and bear happy witness to Islaja’s helplessly ineffable drone-pop as it soundtracks my fellow cultured punters politely pushing past each other, negotiating seating arrangements as if boarding a longhaul flight. All I can see in the direction the music’s coming from is the bobbing torso of a stern bass player who seems to be generating much of the gorgeous tonal rumbling, of which there is a whole lot goin’ on, whilst vocal stylings akin to Bjork auditioning “CONTENTMENT” for a demanding

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