I’ve for a long time felt that Japanese indie and underground music relies too much on a handful of highly-regarded artists from the 1980s and ’90s, and Boris number among those old legends propping up the country’s rock reputation. Boris stand out among their contemporaries in how, for all their broad experimental explorations, still retain the tight focus that enables them to produce singular standout albums like No. From the slow, heavy, crunching metallic footsteps of Genesis to the rat-a-tat hardcore rhythms of Fundamental Error, via the shoegaze-inflected celestial noise that rings through HxCxHxC -Perforation Line-, there’s a rich tapestry of scuzzed-out sounds that Boris are able to turn on a sixpence and charge headlong into with complete mastery. What makes Boris such an extraordinary band, though, is also their ability to pull a variety of these threads together seamlessly — something they do thrillingly on the album’s climactic Loveless, a densely packed six and a half minutes of raucous energy, anchored by the monumental stomp of towering shamanic gods. It’s testament to the ease with which Boris mix and transition between textures that they are able to drift from this moment of colossal guitar torment into the soft dreamscape of the confusingly titled closing Interlude without ever losing the sense that these extremes are natural parts of the same landscape.