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Pink is easily the most cohesive, adventurous, and straight-ahead rocking recording of their 12-year career.
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But for now, basking in Pink's riptide, Wata, Takeshi, and Atsuo are 2006's balls-out riff-makers to beat.
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Take the receipt and lose it--you won’t be returning this record anytime soon.
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Pink showcases every sound Boris can make.
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They’ve upped the speed quotient considerably on this outing, forgoing much of the Melvins-inspired slack of previous efforts in favor of ugly, rapid-fire riffing.
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Pink is muddy as a bowl of bad split pea soup, and twice as hammy.
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Once you get past the placid bit at the beginning, it's straight into the relentlessly pummelling assault we've come to love and expect from the mighty Japanese trio, and Pink's wallop-per-second rate puts it in a class with Heavy Rocks at the top of the Boris heap.
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Pink is their fastest, most instantly gratifying album.
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If Pink’s more evolution than revolution, it still stomps all over most of its close genre surroundings, leaving maybe Tiger Bear Wolf and The Woods as far as 2005 goes.
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Color me unimpressed.
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there's something in this that sounds just so much more intelligent than fannying around making devil horns.
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At the close, the guitars surge forward in waves of noise, a precursor of what's to come. And come it does, with the hammering, staccato fuzz of the album's title track and the speed riffs of "Woman on the Screen."
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This Japanese power trio possess a lurking sense of Metal traditionalism, producing a scabrous wall of guitar noise, crunching, dense and turgid.
Awards & Rankings
User score distribution:
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Positive: 14 out of 15
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Mixed: 0 out of 15
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Negative: 1 out of 15
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Jun 26, 2021Incredible display of so many different genres and influences, beautiful heavy perfect metal.