Boris got their name off of a Melvins song. That might seem like a dud fact, but it's a crucial anecdote in this band's history. In sludge and doom, there's a long history of worship and tribute: Sleep aped Black Sabbath's artwork, and Sunn O))) wouldn't exist were they not specifically trying to start what Earth finished. Listening to early Boris, well, you'd think much the same: they wanted to exorcise the slow, churning, gleefully hateful chords of their favourite band and little more. In the process they became one of drone metal's chief architects -- but where Absolutego and Amplifier Worship started, Boris did not end.
Few bands have this trio's breadth. Wielding double-necked guitars and a whole lot of sonic chutzpah, they've tried on hard rock as corny as Queens of the Stone Age, minimalism as startling as Steve Reich and J-pop as catchy as a winter cold. Atsuo, Takeish and Wata have pretty much done it all, and at startling rates; as time has gone on they've shown a love of simply making albums, whatever their shape ends up being. For me, it's all about Flood, their hypnotic concept album for guitars, drums and crashing amps. Like nearly all of their albums, it's the odd one out.