Live Review: Boris, Crypt, Last Days Of Kali

Boris took Adelaide for a ride, sometimes to the virtual event horizon of a black hole, sometimes to the crushing sonic depths of a low tuned abyss and at other times they simply kept the crowd aghast with their stark unpredictability and endless variety of sounds. You should have been there. 

Last Days Of Kali took on the role of local openers and presented a cohesive set of uplifting sounds, which hindsight would have you know was more reflective galactically-inspiring elements of the set Boris was about to perform. Last Days Of Kali ended with a long and drawn-out jam. It would have been nice to see the beginning of their set and get a better idea. 

Crypt rocked hard with their heavy riff-filled skate punk. The Southern element of their sound is right in the forefront, taking serious hints from Lamb of God as their frontman yowls into the microphone old school and jitters around the stage amongst the three guitarists. This is becoming a fast-growing trend in Adelaide, who really knows why. It’s a little difficult to see where the benefit of this is but the rhythm section of the band sure is fat. There’s not much reason not to head-bang while they’re playing. There are also some intricate flavours to their guitar leads that have a very classic feel. 

Boris did not pack light for their Australian run, making sure to have a stack of Orange cabs twice overhead on stage right, and a stack of Marshalls twice overhead stage left. Curiously the Marshall amps had gaffer tape plastered over their logos. Sure Boris were loud, but it did seem as if the audio carnage at the very whim of the sound technician was being haltered for the sake of Fowler’s hopeless capabilities as a venue. The Japanese outlook not only on arranging, but discovering sonic subtleties and warping them benevolently is remarkable. With a discography of 19 albums it’s impossible to please everyone, especially diehard fans. Boris played a set consisting mostly of their rock material; to Western eyes (ears?) it would be considered progressive rock. At either end of the spectrum is the space rock opera material the band opened with and peppered liberally throughout the set, before they closed with the onslaught of doom for which the band is so well known.