Boredoms

On July 7, 2007, Japanese punk noise band Boredoms convened a special performance in Brooklyn Bridge Park in New York. In addition to the band’s multi-percussive attack, Boredoms invited 75 guest drummers to join them in a celebration of percussive power. On 8 August 2008, Boredoms did it again – this time with 88 drummers. “I could never imagine 77 drums coming together. It was earth rumbling as like a massive Godzilla is walking towards us,” says Boredoms leader Yamantaka Eye. “It was more than what I expected. But I thought the sound impact was when we had rehearsal with 13 drummers in this narrow room blasted my ears more than 77/88 drummers outside. In the outside, 77 drummers playing on field, near the water and all those elements through the air… it was an impressive crazy happening – 77 drummers coming together are more than a big sound.”

Boredoms grew from the ashes of Hanatarash, an early ‘80s Japanese extreme performance band. Hanatarash was notorious for their on-stage behaviour – including driving a bulldozer into the side of a club and throwing molotov cocktails. With Boredoms, Eye moved away from overtly violent confrontation, while still retaining the intensity of his previous outfit. “I just started the Boredoms because I wanted to have my own band, “ Eye explains. Boredoms have also been a band that lends itself to the odd urban myth, such as the story that Eye refused to eat for three days before the first ever Boredoms gig. “That is not true,” Eye counters genially.

Boredoms started performing in 1986, releasing various albums, singles and cassettes now highly prized by collectors and Boredoms fanatics. In the late 1980s The Boredoms made the acquaintance of Sonic Youth and John Zorn, an association that helped the band develop a substantial underground following in the United States.

“At first if I didn’t meet John Zorn, then I probably would not have met Sonic Youth,” Eye points out. “I think if I didn’t tour with Sonic Youth then the Boredoms would not have played music overseas this much.”

Boredoms’ music is perplexing to categorise. To label it ‘punk’ is to ignore the complexity of orchestration both in the band’s recorded performances and their live shows. The nebulous term ‘noise’ risks damning with faint praise; ‘psychedelic’ can get you everywhere and nowhere, and still scratching your head. Boredoms have even attempted to record the sound of drums being played under the ocean. “We recorded in the ocean; in Japan,” Eye says. “We recorded the sound… but that sound is so hard to use so it’s not ready to release yet.”

For Eye, the absence of a tightly defined genre is part of the Boredoms’ aesthetic. “Uncategorizable music … that is Boredoms, isn’t it?” Eye quizzes. The early Boredoms were characterised by a chaotic punk aeshetic; over time, they embraced a more ethereal tone. “It’s not really intended to do that,” Eye counters. “I think it’s all the same for me.”

At the same time, he’s on record as saying Boredoms are influenced by Funkadelic. Which poses the question, as to whether Eye has ever met George Clinton – if so, what does Dr Funkenstein think of Boredoms? “About a month ago we toured in the US on Lollapalooza. I think right after Boredoms, Funkadelic were playing, and of course I saw him and I think I had a greeting with him… but I think George Clinton didn’t watch Boredoms,” Eye grins.

Curiously, Boredoms found themselves on a major label (Warner) in the 1990s, a juxtaposition that proved remarkably productive. Eye is typically enigmatic in his description of the level of creative freedom provided by Warner. “I can’t really remember exactly what it was,” Eye chuckles. “We didn’t change anything because of being signed to a major record company.”

In 2003 Boredoms began use the term V∞redoms as an alterative band name. It was the source of some confusion for fans, though Eye says it’s nothing to dwell on. But in explaining the distinction, he offers the functional description of the band. “There is no difference any more,” Eye figures. “The beginning of ‘v’ was the circulation inter-system unit to the research (study) of rhythm and a principle of resonance of the procaryote of The Boredoms. The members are drummers and myself on turntable, open-reel, transmitter etc. The members are placed in facing each other to make a circle, to create a circulation play. The centre point of the circle, the meeting point of the diagonal line of the members, is the centre of the record. It used to be the names are important. But not any more,” he argues. “Now whatever the name is, what ever our sounds … what ever we do is BOREDOMS.”

With that description on record, it’s put to Eye what sort of person (in the audience) is attracted to Boredoms. It’s an inquiry that continues to plague Eye’s mind. “That is also my question,” he replies. “I’m interested in what’s kind of people coming up to see us but it’s uncomprehended; I guess not many young people such as junior high or high school kids are there.” Given the intensity of a Boredoms show, in what state of mind should a member leave a Boredoms show? “Please – we just ask that for Boredoms it is fun state of mind,” Eye chuckles. “But how you feel is personal liberty so I just want to share a great time with everybody.”

That said, wow important to a Boredoms show is that visual element of their show? “We are always concerned about the visual image but main thing is always the music,” Eye responds.

“Our live show is about 90% arranged music and the other 10% is improvisation. Also it’s all affected by circumstances, musical instruments and what the crowd is like…so it will never be the same thing again,” he nods.

As for the root of the Boredoms, Eye’s reply is simple. “Everything,” he says, “including sounds before being turned to music.”

BOREDOMS play The Forum on October 9 with Kesband and Bum Creek. All info through melbournefestival.com.au melbournefestival.com.au.