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Onanie Bomb Meets The Sex Pistols

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Boredoms

 
Onanie Bomb Meets The Sex Pistols
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Prankish hardcore from another dimension.

  • We Say...

    It may have lost its way during the mid '70s, but progress in pop was largely driven by a desire to redefine its boundaries. Punk claimed to do that in 1976, though its three-chord thrash and short, sharp songs also marked a return to rock as something that works best within limits. However, some disobedient souls, from industrial anti-musicians to New York no wavers, embraced the power of formless noise and the disorientating effects of sonic collage. The cause was taken up by the Japanoise bands of the late '80s and '90s, led by the Osaka-based Boredoms. This compilation of the band's first LP and the 1986 Anal By Anal EP (the title provides a clue to their characteristic grotesquerie) takes prankish hardcore into a different dimension, as if Butthole Surfers had been mixed by Aphex Twin. Moans and screams are integral to the Boredoms' repertoire of shock tactics (and, on "Young Assouls," belches too), though don't let that disguise some brilliantly imaginative post-production work.

  • They Say...

    Collecting the contents of the band's first two Japanese releases, Onanie Bomb shows that, from the start, the Boredoms were interested in musical chaos of a most unique degree. Rough but not lo-fi, Onanie rips, stomps, and explodes all over the place in several directions at once. Purists might object to calling some of what is whipped up "songs," but the goofy insanity in the death-march-meets-squalling-cartoon-voices of "We Never Sleep," and even the song titles which reach beyond over the top, like "Lick'n Cock Boatpeople" and "Anal Eater," could only be resisted by the stodgiest of souls. For all the extreme noise at play, what's evident on Onanie is the sheer sense of fun, much like the Boredoms' early inspirations, the Butthole Surfers. Thus, "Bite My Bollocks" sounds like a '50s strut and stroll revisited after several apocalypses -- a party where everyone has lost any sense of trying to be cool; where everyone wants to not merely burn down the house, but smash it to atoms. More than a few sounds wouldn't seem out of place on some of Yoko Ono's early albums, but there's something just a little more gone about tracks like the hyper-speed thrash of "No Core Punk" and "Melt Down Boogie"; they aren't so much stretching the boundaries of rock as they are torpedoing them and tossing the bits around in the air. One track ends with extended burp noises that eventually fade into semi-nothingness; another seems to consist of feedback noises recorded in a sheet metal factory and interspersed with wails and sudden attempts at solos. Topping off all of that with album art indicating that the performers play such instruments as "bicyclesynth," "tennis," and "kick & hit & shot," and clearly, the Boredoms aren't catering to "normalville" -- nobody is in Kansas anymore.

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