Review Summary: Boris' most intimate record to date might as well be their best in recent years
After an intense year like 2011, with three albums and two collaborations, Boris put themselves in the uncomfortable situation of having to respond to a new -found lucidity. For a band that has never been afraid to try new and different things, and reinvent their sound with each record, this should not be too difficult a task, and in fact the Japanese trio still does it. Boris in 2013 sound as fresh and inspired as Boris of 2011, or 2007, or even 2000/02. Präparat is the answer to the 2011 trilogy; it sounds fresh, original and damn fun. The album has everything a Boris record must have: a dream-like mood with fully distorted guitars as abrasive as nails on a blackboard. And all of this is crafted in 40 minutes of music.
The album opens with December, a track with a vaguely post–rock tone, that starts the album on the sly. A guitar resembling the sound of waves is accompanied only by drums, before an airy arpeggio brings back memories of a window open on the ocean, and the waves crushing on the shore right below. This could be the most beautiful track on the album, as well as one of the finest written by the band overall. To this tiptoed intro follows “Elegy”, a classic Boris track. The opening riff is a continuation of December’s closing riff, but soon enough the damper is removed, and the guitars are unleashed. Heavily distorted, the guitars drag themselves slowly, accompanied by Takeshi’s vocals, this time more whispered than yelled. The album continues along these lines with another great instrumental, but before long Boris begin to go wild, and sound more like “ Pink”, if not “Smile”. Method of Error is probably the most resembling of this. As Heavy as it gets, the track is definitely a wink to the band past catalogue. Nevertheless, it fits perfectly in the album, and it does not seem at all out of place with the overall mood. On the contrary, it prepares the listener for the second half of the album, where the band follows the path already marked in the first half, but we finally find Wata singing in her signature style. The second half of the album slows down little by little with each track, with the conclusive “Maeve” ending the album in a whisper rather than in a bang.
Hardly ever over the top, Präparat maintains a contained, almost reserved attitude throughout its run-time, creating an overall ethereal atmosphere. The album however, rewards the attentive listener, donating a fantastic experience that won’t be easily forgotten. It is hard to imagine Boris aging ever more gracefully.
Recommended Tracks: December, Elegy, Castle in the Air and, Mirano. Although listening to the album start to finish is greatly advised
