Boredoms
Pop Tatari

THE REVIEW

"It really seems strange to us that a major label has signed a contract with a lousy group like ours. It would be fine, after all, if we were mediocre, but we are truly awful. I believe there has never been a label in history that has released albums as bad as ours. How is it possible that such a dreadful band manages to sell so many records?"

Just released by Warner, Pop Tatari was quickly dismissed as "the most unlistenable album since Lou Reed's Metal Machine Music" or "a monstrous blob of tracks without rhyme or reason." But in reality, with patient listening, one understands how the multiple musical references of the previous Soul Discharge have been further subverted and manipulated by Eye and company following their own unique non-logic. In this chaotic alternation of the most diverse genres, the development of the tracks is characterized - paradoxically - by a greater awareness of their means: particularly highlighted is the excellent versatility of guitarist Yamamotor, able to range from funk to metal, including Hendrixian citations.

In the vein of the more digestible Boredoms should be noted the spastic riff of Hey Bore Hey, the acid-rock funkadelic of Bo-Go, and a hard-scented Bore Now Bore, if not for the multitude of bizarre synth tricks that crumble its structure.

It's an album that plays at lining up one thing and then its exact opposite: if the hard dance of Molecicco would still have its own "logic" (in this case speaking very loosely) it is followed by a Telehorse Uma that lines up hardcore, samples, reggae, and ethnic music (!), draining all these canons of their meaning. Masterpieces of incongruity are then the nine minutes of Cheeba, a fiery funk capable of an absurd space-rock finale, and the schizophrenic (now dub, now punk) Cory & The Mandara Suicide Piramid Action Or Gas-Satori.

It's hard to say, by the end of this listening, whether they are crazier or the people who still listen to them. Perhaps both...