Andrew Levine Quote About Republicans

“As a general rule, what Republicans say is not worth taking seriously even for a second, except insofar as they wield power. And then, it is the power they wield, not the power of their ideas, that makes taking them seriously worthwhile.”

Andrew Levine, “Ilhan Omar Owes No Apologies, Apologies Are Owed Her”

Eric Blanc – The Billionaires Dismantling Oakland Schools

Link to an article by Eric Blanc:

“The Billionaires Dismantling Oakland Schools”

Bonus links: “They’ve Been Doing This Massive, Anti-Democratic Model of Education Reform” and Richard Shaull Quote

Justin Fox – Why America’s New Apartment Buildings All Look the Same

Link to an article by Justin Fox:

“Why America’s New Apartment Buildings All Look the Same”

The claims about environmental benefits of wood (over concrete) and a few other things might be debatable.

Bonus link: “Minneapolis’ Housing Plan Rewards Developers, Punishes Working People”

McKinsey & Company: Capital’s Willing Executioners

Link to an anonymous article:

“McKinsey & Company: Capital’s Willing Executioners”

Bonus links: “The Sociology of C. Wright Mills” (“As modern management becomes the reigning ethos of the age, the shift from explicit authority relationships to more subtle manipulation becomes the preferred form of power. *** The goal of manipulation is to have men internalize managerial directives without knowing that these directives are not their own motives, without recognizing that they are being victimized.”) and Critique of Cynical Reason and Making Money

Ellen Meiksins Wood – The Origin of Capitalism

Ellen Meiksins Wood – The Origin of Capitalism: A Longer View (2002)

Wood summarizes a debate among a certain subset of historians and economists about the origin of capitalism — favoring the theories of Robert Brenner. This book is really meant as a partisan summary of a long-standing debate that she frames as now being mature and largely settled. She lands some excellent jabs at some of the less plausible theories, like making the excellent point that critics of certain theories rely on aspects and assumptions underlying those very theories to make their criticisms. But much of her books rests on the insistence that the origins of capitalism must be explained by the rise of a specific, historically-observable economic mechanism. She says that capitalism is really defined by dependency on a “market”, and any theory of the historical origin of capitalism must explain the rise of a market that did not previously exist. In her own words:

“Capitalism is a system in which goods and services, down to the most basic necessities of life, are produced for profitable exchange, where even human labour-power is a commodity for sale in the market, and where all economic actors are dependent on the market. *** Capitalism differs from other social forms because producers depend on the market for access to the means of production . . . ; while appropriators cannot rely on ‘extra-economic’ powers of appropriation by means of direct coercion . . . —but must depend on the purely ‘economic’ mechanisms of the market . . . . *** The basic objective of the capitalist system, in other words, is the production and self-expansion of capital.”

Mechanisms like double-entry bookkeeping are not significant enough for her to discuss in more than passing reference, despite the number of historians who have cited its importance. This highlights Wood’s rather parochial framing of the debate about the origins of capitalism, ignoring whole swaths of seemingly important arguments. If — like me — you are unconvinced by Wood’s definition of capitalism and the limited purview of theories of its origin she deems worthy of discussion, then you will be unmoved by much of her book.

What if a working definition of capitalism is that it is a “social construct” (or a “social relation” if you will) in which society favors the accumulation and concentration of capital in private hands? That is to say, when a favoring of the accumulation and concentration of capital in the hands of a dictatorship of the bourgeoisie (capitalist class) becomes “typical”. Under this definition, specific mechanisms, like a “market”, are not central, and a patchwork of other mechanisms like double-entry bookkeeping can assume important roles too. In other words, this framing places “capitalism” in a different realm of abstraction than where Wood places it, despite many similarities to the wording of her definition. As a social construct, it is neither a purely objective fact like temperature, wavelength, etc., nor is it a purely subjective individual belief — bearing in mind that even “objective” facts are only meaningful for non-objective reasons. Moreover, by looking at a kind of tipping point at which this social construct becomes hegemonic so that society sufficiently favors private capital accumulation to reproduce that social construct over time, it is possible to look at the issue of its origins with reference to the philosophical concept of an “event”. In a philosophical “event”, it is a bit like old Road Runner cartoons, in which Wile E. Coyote would chase Road Runner across a gorge, running over thin air and only plummeting into the gorge when he looks down and realizes there is no longer any ground beneath his feet. The reason for the chase in the first place is just the usual struggle for power. Following this analogy, the origin of capitalism is the moment that a society with populations chasing after each other to get ahead looked down and decided that the old system was no longer under their feet. In this sense, the possibility that “markets” were present before a society, collectively, decided that the old system (whatever that was) was no longer supporting its feet and it had fallen down into a market-based system is not as crucial as Wood insists because the significance and very meaning of a “market” had changed. But, most importantly, this presents a question that is more a matter of sociology, philosophy, or political science than history, with origins in a power struggle, and Wood really had no particularly relevant expertise to answer that sort of question about the possible origins of capitalism, because these sorts of social constructs are not directly observable in the historical record. She sticks with a dualistic framework of objective facts and subjective feelings, without recognizing social constructs as a third category. In this sense Wood commits a scholastic fallacy, being unreflective of her own position as a privileged historian who personally gains from a theoretical framework that centers around historical analysis of “objective facts”.

These criticisms might seem curious given that Wood basically makes many astute statements about ideological hegemony in her book. She even goes so far as to acknowledge the reproduction of ideologies. But the problem is really that she makes such comments as passing asides, as if they are effects and symptoms of the economic mechanisms (markets) she elevates to a primary position. In brief, her incessantly repeated tu quoque criticism that other theorists assume what they need to explain can be leveled at her as well! She pursues a typical orthodox Marxist base/superstructure framework in which things like “markets” determine an economic base that guides and determines cultural superstructure — ironically, she might be known for objecting to that simplistic framework but here it is implicit in her analysis (in much the same way she criticizes people who hypocritically offer critiques that assume aspects of the commerce model of the origin of capitalism). But the problem is that she is very consciously trying to denigrate by omission the great bulk of 20th Century politically left theoretical advancements in sociology, psychoanalysis and philosophy. Her complete lack of discussion of the psychological mechanisms that link individuals to the origin and reproduction of class hierarchies in capitalism or to the distributions of power that produced and were reproduced under capitalism suggests that these things are unimportant. It is at precisely this point that it can be said that she assumes what is really in need of explanation. Also, her assumption that “markets” represent a neutral mechanism that explains the origins of capitalism in a way that other theories do not seems to adopt the sort of Karl Popper-like neoliberal perspective that markets are non-ideological. This opens her to yet another tu quoque criticism.

Her emphasis on “markets” as the central feature of capitalism is also curious in a few other ways. Isn’t the term “capitalism” a reference to social significance of “capital” and a capitalist class? Wood would almost have us rename “capitalism” as “marketism”! But, more deeply, the problem is that Wood puts rather too much gloss on the concept of “capital”, going so far as to appear to conflate it with wealth generally. The so-called Cambridge Capital Controversies were an arcane dispute between economists that nonetheless refuted some of the things that Wood appears to assume. This problem is most apparent in her analysis of the Dutch vs. English cases regarding historically competitive locales around the time of the origin of capitalism. Her analysis is glossed at such a high level that it is difficult to see where the factual support for her “market” thesis lies, while at the same time even her skeletal description suggests that the Dutch were concentrating (non-capital) wealth rather than capital and the difference seemed to lie in the hegemony of different social constructs in those different locales. Marx argued that in capitalism the (continued) circulation of money as an end unto itself (as opposed to mere consumption) was important. In the Dutch case, Wood portrays the Dutch as a society concerned with accumulating wealth to support consumption, that is, breaking the cycle of circulation and thus not being capitalist under a Marxist framework.

Does all this mean “markets” don’t matter to capitalism? Hardly. They are clearly important to the functioning of capitalism. But so is “commodity fetishism” and the creation of demand through advertising. We can partly look at Wood’s thesis as (implicitly, in its framing) overly focused on the specific neoliberal form of late capitalism, with its financialization and mature market mechanisms. Ole Bjerg‘s Making Money: The Philosophy of Crisis Capitalism is a somewhat more convincing, if more theoretical, view of the role of the fantasy of “being in the market” under contemporary neoliberal capitalism. And for that matter, Wood’s book does not address the insight of Thorstein Veblen‘s The Theory of Business Enterprise, which astutely noted how business people impose markets on everyone else but want neo-feudal monopolies for themselves. They are happy with everyone else being subject to the arbitrary ravages of the market but want special privileges and status that spare themselves from its ravages in important ways. This is a bit like wanting both economic and politic power for themselves and wanting everyone else to (preferably) have neither — which suggests that there is more to what Perry Anderson has argued (and less to what Brenner argued) than Wood admits. In a way, capitalists tend to want the end of capitalism as much as any communist, they just want to see it end by reverting to some form of feudalism (with themselves as the new aristocrats, of course). Current historical evidence even seems to support this. Veblen’s framework also perfectly explains the Dutch vs. English cases.

Taking this critique a bit further, sociologists like Pierre Bourdieu have posited that there are multiple forms of “capital”, including things like “cultural capital” (he elaborated additional types of capital over the years), that contribute to symbolic domination — a way of describing hierarchical concentration of power very analogous to market relations. If we accept this, despite a lack of complete alignment with Marxist frameworks, then even in a communist (non-capitalist) society might there still be a “market” for certain types of capital, much like the well-known saying about a “marketplace of ideas”? This is an intriguing question, with some examples available from the former Soviet bloc, but it is one that Wood’s framework structurally precludes, which casts some doubt on Wood’s theoretical framework. Bourdieu also extended the analysis of Marx and Engels’ The German Ideology to explain how intellectuals and professionals are the thinkers, guardians and gatekeepers of the capitalists class, showing how the bourgeoisie are subdivided into class fractions. Wood flatly rejects this, arguing that attorneys and such are qualitatively different from the bourgeoisie. Her comments to this effect are absurd, not to mention conclusory (once again she assumes what is in need of explanation, because what is in need of explanation” is itself a function of ideology).

Now, the alternative working definition of capitalism mentioned here might not be correct. But it does seem like Wood’s definition is probably wrong. At times the book feels like it criss-crosses important concepts, mentioning them in passing but always focusing attention on other, adjacent topics that seem unimportant by comparison. For instance, she does state that “The basic objective of the capitalist system, in other words, is the production and self-expansion of capital.” But she strangely insists that this point must be proven by the appearance of a market, rather than through an analysis of social power in a sociological or political science framework. What falls flat is very precisely her insistence that there are “purely” economic mechanisms — entirely free from the sorts of indirect power of threatened coercion that people from Leo Tolstoy (see the last chapter of The Kingdom of God Is Within You) to C. Wright Mills (see this summary of his work) have explained — that provide the only way to analyze “the basic objective of the capitalist system”. And her analysis is quite reductionist in its focus on “markets” and the sole explanation for hegemony of the interests of a capitalist class. Despite such handicaps, her book does still serve a useful purpose in highlighting the simplistic and even more thoroughly wrongheaded views of the origin of capitalism advanced by the boosters and cheerleaders of capitalism. While these merits might make the book worthwhile to academics (though it is written in a tone suited more for introductory audiences), this can’t be unequivocally recommended because of questions that remain about the underlying theoretical premises. Her normative judgments as to what theories are major and which are unworthy of discussion is unconvincing. If she had instead presented her summary about certain debates over the origins of capitalism as partisan, rudimentary and partial rather than objective, settled and mature (in need of only follow-on confirmation and refinement of small details) her credibility would have been greatly enhanced. Readers should, if nothing else, walk away from this book with a conviction that Wood and Brenner were wrong, and should take up an investigation of the work of Frankfurt School and post-structuralist/Althusser-inspired Marxist theorists whom she mostly tries to denigrate by refusing to recognize them.

Saker Interview with Michael Hudson on Venezuela

Link to an interview with Michael Hudson:

“Saker Interview with Michael Hudson on Venezuela”

Bonus links: “Trump’s Coup in Venezuela: The Full Story” and “The Siege of Venezuela and The Travails of Empire”

Daniel Lopez – The Conversion of Georg Lukács

Link to an article by Daniel Lopez:

“The Conversion of Georg Lukács”

Slavoj Žižek on #MeToo Movement

Link to a video:

“Slavoj Žižek on #MeToo Movement. How to Watch the News, Episode 02”

Bonus link: “Too Much of Not Enough: An Interview with Alenka Zupančič”

Heavy Rocks: A Guide to the Music of Boris

A guide to the music of the Japanese band Boris by Syd Fablo and Bruno Bickleby.

Boris [ボリス]

Formed: 1992, Tokyo, Japan

AKA: FangsAnalSatan or Fangs Anal Satan or fangsanalsatan (FAS)

Members: Takeshi [大谷剛 (Ohtani Takeshi)], Wata [水野陽子 Mizuno Yoko], Atsuo [水野敦夫 (Mizuno Atsuo)], Nagata (1992–1996)

A Brief Introduction

Boris was formed in 1992 as a quartet by students at Tokyo University in order to have a band with original member Nagata, who left in 1996. Although most if not all of their music falls under the category of “rock”, they have performed and recorded music in an unusual number of distinct genres. As to their recordings, many have been limited edition releases and they can be quite difficult to obtain in many parts of the world. The band has a proclivity toward alternate versions of releases, as well as re-using the same titles (and even the same or similar cover artwork), that makes their catalog rather esoteric and skewed toward obsessive collectors. On recordings, they usually capitalize the band’s name for material with more widespread appeal that comes from the “heart of rock” and use lowercase lettering for “experimental rock music that comes from inside and emanates outward” with more limited appeal — the capitalization is meant as a kind of guide for listeners. “FangsAnalSatan” is an alternate name for the band, to avoid having the name “Boris” appear too frequently. Although early artworks were more collaborative, eventually Atsuo came to design most of the band’s artwork, which frequently pays homage to releases by other bands through spoofs of notable album artwork.

Releases are presented below in chronological order by recording date (like a sessionography), though precise recording date information was not always available. Ratings and release information (dates, producer, etc.) on split and various artists compilations is provided only for the Boris recording(s). Genres are listed, though these are naturally a judgment call and not meant to be definitive. Boris operates across many genres, and on any given recording they may also blur the lines between genres.

Legend:

♥♥♥ = top-tier; an essential

♥♥ = second tier; enjoyable but more for the confirmed fan; worthwhile after you’ve explored the essentials and still want more

♥ = third tier; a less significant album, more for completists, with perhaps only one or so notable songs

The Early Years: 1992-1999

1st Demo (1993)

Alternate Version Notes: selected tracks reissued on Archive II

Studio/Live:

Recorded:

Producer(s):

Genre(s):

Tier:

Key Track(s):

Review:

Various Artists – Take Care of Scabbard Fish (1994)

Alternate Version Notes: N/A

Studio/Live:

Recorded:

Producer(s):

Genre(s):

Tier:

Key Track(s): “Water Porch”

Review:

2nd Demo (1993)

Alternate Version Notes: at least selected tracks reissued on Archive II

Studio/Live:

Recorded:

Producer(s):

Genre(s):

Tier:

Key Track(s):

Review:

Fangs Anal Satan Vol. 2 – 4/2 Live!! (1995)

3rd Demo (1994)

Alternate Version Notes: alternately titled Fangs Anal Satan Vol II — 4/2 Live!!, which included an image on the cassette in tribute to Flipper‘s logo; reissued on Archive II; two tracks reissues as bonus tracks on CD version of Barebones/Boris split

Studio/Live: Live

Recorded:

Producer(s):

Genre(s):

Tier:

Key Track(s):

Review:

Various Artists – Eat the Chaos (1995)

Alternate Version Notes: Studio version of the song recorded live on 3rd Demo

Studio/Live: Studio

Recorded:

Producer(s):

Genre(s):

Tier:

Key Track(s): “Mosquito”

Review:

Various Artists – From Koenji to Eternity (1996)

Alternate Version Notes:

Studio/Live:

Recorded:

Producer(s):

Genre(s):

Tier:

Key Track(s): “Vacuum”

Review:

Absolutego+ (Special Low Frequency Version) [orange jewel case] (2001)

Abolutego+ (Special Low Frequency Version) — Absolutego+ (Special Low Frequency Version) (2001)

Absolutego+ (b/a Dronevil2) — Absolutego+ (b/w Dronevil2) (2010)

Absolutego (1996)

Alternate Version Notes: Expanded and remastered version released with different CD and vinyl artwork as Absolutego+ (Special Low Frequency Version) and Absolutego+ (b/w Dronevil2); the remastering gave the recording more low end and a different sound than the original; Absolutego+ (Special Low Frequency Version) initially came in an orange jewel case which was later switched to a clear jewel case, and Absolutego+ (b/w Dronevil2) also came in a red vinyl version

Studio/Live: Studio

Recorded: July 1996; reissue bonus track: 1997, Sound Square, Kitakyūshū, Fukuoka, Japan

Producer(s): Boris

Genre(s): Drone doom

Tier: ♥♥

Key Track(s):

Review:

Barebones / Boris – Barebones / Boris (1996) [EP]

Alternate Version Notes: CD reissue has different cover artwork and appends two bonus tracks from Boris’ 3rd Demo

Studio/Live:

Recorded:

Producer(s):

Genre(s):

Tier:

Key Track(s):

Review:

See Archive II

Tomsk 7 / Boris – “Untitled” / “Mass Mercury” (1997) [Single; split]

Alternate Version Notes: N/A

Studio/Live:

Recorded: April to May, 1997

Producer(s):

Genre(s):

Tier:

Key Track(s): “Mass Mercury”

Review:

Various Artists – A Tribute to Evangelion (1997)

Alternate Version Notes:

Studio/Live:

Recorded:

Producer(s):

Genre(s):

Tier:

Key Track(s): “調弦”

Review:

see Scott Slimm Presents: Archive (Vols. 1 and 2)

Keiji Haino with Boris – Black: Implication Flooding (1998)

Alternate Version Notes: N/A

Studio/Live: Live

Recorded: August 31, 1997, Koenji 20000V, Tokyo, Japan

Producer(s):

Genre(s):

Tier:

Key Track(s):

Review:

Amplifier Worship (1998)

Alternate Version Notes: re-released with alternate cover art, and the tracks are sequenced different on CD and vinyl, but the recordings are identical

Studio/Live: Studio

Recorded: August–September 1998, Sound Crew

Producer(s): Boris

Genre(s):

Tier: ♥

Key Track(s):

Review:

Choukoku no Niwa / Boris – More Echoes, Touching Air Landscape (1999)

Alternate Version Notes: reissued with different artwork but identical recordings

Studio/Live: Studio

Recorded: “Kanau”: Part 1 recorded May 16 and 23, 1999, Sound Square, Kitakyūshū, Fukuoka, Japan; Part 2 recorded May 2 and 3, 1999, Sound Crew [Boris recordings only]

Producer(s):

Genre(s):

Tier:

Key Track(s):

Review:

International Recognition: 2000-2008

flood (2000)

Alternate Version Notes: Some copies mastered as a single track, others divided into four tracks

Studio/Live: Studio

Recorded: September 2000, Bazooka Studio, Tokyo, Japan

Producer(s): Boris

Genre(s): Post Rock, Minimalism

Tier: ♥♥

Key Track(s): “flood, Part 2”

Review:

Up Jumped the Devil: Tribute to Robert Johnson (2000)

Alternate Version Notes:

Studio/Live:

Recorded:

Producer(s):

Genre(s):

Tier:

Key Track(s):

Review:

Scott Slimm Presents: Archive — aRCHIVE (2005)

Scott Slimm Presents: Archive (2005)

Alternate Version Notes: released as a 3-disc set and as individual discs: Archive: Boris Volume One “Live 96-98,” Archive: Boris Volume Two “Drumless Shows,” and Archive: Boris Volume Three”2 Long Songs”. The three-disc set was re-issued with new artwork and in remastered form as Archive I.

Studio/Live: Live

Recorded: June 21, December 21, 1996, August 8, 1997, August 2, 1998, and May 3, 2001, Koenji 20000V, Tokyo, Japan; August 9, 1997, Nagoya Music Farm, Nagoya, Japan; October 4, 1997, Shinjyuku Loft, Tokyo, Japan

Producer(s): Scott Slimm

Genre(s):

Tier:

Key Track(s):

Review:

Heavy Rocks (2002)

Alternate Version Notes: This album has an orange cover and is sometimes identified as “Heavy Rocks (2002)” to distinguish the 2011 album of the same name with a nearly identical purple cover that contains entirely different music.

Studio/Live: Studio

Recorded: July to September, 2001, Bazooka Studio, Tokyo, Japan

Producer(s): Boris

Genre(s): Stoner metal

Tier: ♥♥

Key Track(s):

Review:

“1970” / “ワレルライド” (2002) [Single]

Alternate Version Notes: These are alternate takes of songs that appeared on Heavy Rocks (2002)

Studio/Live: Studio

Recorded: July to September, 2001, Bazooka Studio, Tokyo, Japan

Producer(s):

Genre(s): Stoner metal

Tier:

Key Track(s):

Review:

Various Artists – Mangrove2002 (2002)

Alternate Version Notes:

Studio/Live: Studio

Recorded: June to September, 2001, Bazooka Studio, Tokyo, Japan

Producer(s):

Genre(s):

Tier:

Key Track(s): “Dronevil”

Review:

boris with merzbow – megatone (2002)

Alternate Version Notes: N/A

Studio/Live: Studio

Recorded: 2000 to 2001, Bedroom, Itabashi; 2001, Sound Square, Kitakyūshū, Fukuoka, Japan

Producer(s): Boris with Merzbow

Genre(s):

Tier:

Key Track(s):

Review:

Boris with Merzbow – Walrus / Groon (2007) [EP]

Alternate Version Notes: Issued on various differently colored vinyl

Studio/Live: Studio [?]

Recorded: 2001

Producer(s): Boris with Merzbow

Genre(s):

Tier:

Key Track(s):

Review:

Boris with Merzbow – 04092001 (2005)

Alternate Version Notes: N/A

Studio/Live: Live

Recorded: September 4, 2001, Milk, Tokyo, Japan

Producer(s): Boris with Merzbow

Genre(s):

Tier:

Key Track(s):

Review:

あくまのうた [Akuma no Uta] (2003)

Alternate Version Notes: Re-released in 2005 with new artwork and expanded and modified contents. The most common reissue had a cover (or picture disc) that paid tribute to Nick Drake‘s Bryter Layter, and was expanded by seven minutes to have the same total runtime as the Drake album. 300 copies of an alternate artwork vinyl picture disc paid tribute to Venom‘s Welcome To Hell. On reissues, an alternate version of the opening “Introduction” is used. “Ibitsu” was also released on the split single The Dudley Corporation / Boris.

Studio/Live: Studio

Recorded: January to March, 2003, Peace Music, Tokyo, Japan

Producer(s): Boris

Genre(s):

Tier: ♥♥♥

Key Track(s):

Review:

boris at last -feedbacker- (2003)

Alternate Version Notes: There is different artwork between CD and vinyl versions. Also, some CDs are mastered as a single track, others divided into five tracks. There is a DVD Bootleg – Feedbacker- that is actually an official release of a live performance of the album

Studio/Live: Studio

Recorded: July to October, 2003, Peace Music, Tokyo, Japan

Producer(s): Boris

Genre(s): Drone, post-rock

Tier: ♥♥♥

Key Track(s):

Review:

目をそらした瞬間 -the thing which solomon overlooked- (2004)

Alternate Version Notes: Included in the remastered compilation 目をそらした瞬間 -the thing which solomon overlooked- chronicle

Studio/Live: Studio

Recorded: 2004, Sound Square, Kitakyūshū, Fukuoka, Japan

Producer(s): Boris

Genre(s):

Tier:

Key Track(s):

Review:

dronevil (2005)

Alternate Version Notes: CD reissue has different artwork, is remastered, and adds two additional tracks

Studio/Live: Studio

Recorded: 2004, Sound Square, Kitakyūshū, Fukuoka, Japan

Producer(s): Boris

Genre(s): Drone, post rock

Tier: ♥♥♥

Key Track(s): “The Evil One Which Sobs” [dronevil -final- only]

Review:

Sound Track from Film "Mabuta no Ura" — Inoxia LP

sound track from film “mabuta no ura” (2005)

Alternate Version Notes: Inoxia released a vinyl version and Catune released a CD version with different artwork but identical recorded content; Essence released a CD version in Brazil with different and expanded recorded content and also a limited box-set edition that added art prints, flyers, and dried flowers. The single “a bao a qu” is an extended version of the song from the album. This is a “fake” soundtrack; there is no film that the music accompanies

Studio/Live: Studio

Recorded: Winter 2003 to Summer 2004

Producer(s): Boris

Genre(s):

Tier:

Key Track(s):

Review:

“a bao a qu” (2005) [Single]

Alternate Version Notes: extended version of the song on sound track from film “mabuta no ura”; completely different from the song on 目をそらした瞬間 -the thing which solomon overlooked-

Studio/Live: Studio

Recorded: 2003 and/or 2004

Producer(s):

Genre(s):

Tier:

Key Track(s):

Review:

Boris with Merzbow – Sun Baked Snow Cave (2005)

Alternate Version Notes: N/A

Studio/Live: Studio

Recorded: 2001–2004

Producer(s): Boris with Merzbow

Genre(s):

Tier: ♥

Key Track(s):

Review:

Boris with Merzbow – Klatter (2011) [EP]

Alternate Version Notes: N/A

Studio/Live: Studio

Recorded: December, 2004, Sound Square, Kitakyūshū, Fukuoka, Japan

Producer(s):

Genre(s):

Tier:

Key Track(s):

Review:

Vein (2006)

Alternate Version Notes: Initially released simultaneously as two more or less entirely different albums with the same title and artwork, these are referred to as the “Hardcore Version” and “Drone Version”; in 2013 a 2CD version was released (on 3 inch mini CDs) that intermingled material from both prior Vein albums in edited format, rather than reissuing each prior version on a separate disc as the packaging implies

Studio/Live: Studio

Recorded: 2004; 2004-2013 (2CD reissue)

Producer(s): Boris

Genre(s):

Tier:

Key Track(s):

Review:

Pink (2005)

Alternate Version Notes: Diwphalanx CD and vinyl versions have different artwork but identical contents; the Southern Lord CD has an expanded runtime with the same track sequencing; the Southern Lord vinyl has the same runtime as the Southern Lord CD but with a different track sequencing; the Sargent House/Daymare Deluxe Editions (CD/vinyl) follow the respective Southern Lord CD/vinyl editions and add a bonus disc (“Forbidden Songs”) of previously unreleased outtakes

Studio/Live: Studio

Recorded: 2005, Sound Square, Kitakyūshū, Fukuoka, Japan

Producer(s): Boris

Genre(s):

Tier: ♥♥♥

Key Track(s):

Review:

Sunn O))) & Boris – Altar (2006)

Alternate Version Notes: Released as a single disc and as a 2CD or 3LP version with “Alter Prelude” bonus disc; Japanese CD versions include the bonus track “The Sinking Belle (Black Sheep)” and Japanese 3LP versions include the bonus track “The Sinking Belle (White Sheep)”; Southern Lord 3LP editions came in differently colored vinyl or a picture disc; dedicated website (archived)

Studio/Live: Studio

Recorded: October 2005, [Studio] Litho; December 2005, Aleph [Studio]

Producer(s): Sunn O)))

Genre(s): Drone doom, post rock

Tier: ♥♥

Key Track(s): “Her Lips Were Wet With Venom (satanoscillatemymetallicsonatas)” [Southern Lord 2CD version only]

Review:

目をそらした瞬間 2 -the thing which solomon overlooked 2- (2006)

Alternate Version Notes: Copies pressed in orange and green clear vinyl; included in the remastered compilation 目をそらした瞬間 -the thing which solomon overlooked- chronicle

Studio/Live: Studio

Recorded: 2006

Producer(s): Boris

Genre(s):

Tier:

Key Track(s):

Review:

目をそらした瞬間 3 -the thing which solomon overlooked 3- (2006)

Alternate Version Notes: Copies pressed in orange and light blue clear vinyl; included in the remastered compilation 目をそらした瞬間 -the thing which solomon overlooked- chronicle

Studio/Live: Studio

Recorded: 2006

Producer(s): Boris

Genre(s):

Tier:

Key Track(s):

Review:

Archive II (2014)

Alternate Version Notes: Includes reissued songs from the first three demos, plus previously unreleased live recordings

Studio/Live: Live

Recorded: 1993-1994; March 1 and 2, 1996, Capitol Theater, Olympia, WA, USA; May 15, 2003, Tokyo, Japan; May 31, 2006, New York, NY, USA

Producer(s):

Genre(s):

Tier:

Key Track(s):

Review:

Boris with Michio Kurihara – Rainbow (2006)

Alternate Version Notes: Drag City reissue has alternate artwork and replaces “…And, I Want” with “No Sleep Till I Become Hollow”; Inoxia single LP edition follows original Pedal version; Inoxia 2LP box set features the Pedal version of the album on clear vinyl, a bonus disc containing two bonus ambient tracks on clear vinyl, a DVD featuring the music video for “Rainbow,” and a 50-page photo book; there is also a promo-only Drag City version with still further alternate (stock) artwork

Studio/Live: Studio

Recorded: January to July 2006, Peace Music, Tokyo, Japan

Producer(s): fangsanalsatan & Souichirou Nakamura

Genre(s):

Tier: ♥

Key Track(s): “Rainbow”

Review:

Boris with Michio Kurihara – Cloud Chamber (2008)

Alternate Version Notes: N/A

Studio/Live: Studio

Recorded: 2006, Peace Music, Tokyo, Japan

Producer(s): Souichirou Nakamura and fangsanalsatan

Genre(s):

Tier:

Key Track(s):

Review:

Doomriders vs Boris – Long Hair and Tights (2007) [split]

Alternate Version Notes: Issued on red and yellow clear vinyl; initial 300 copies came with a stencil

Studio/Live: Live

Recorded: October 19 or 31, 2006, Slim’s, San Francisco, CA, USA

Producer(s):

Genre(s):

Tier:

Key Track(s):

Review:

Boris vs SBGM – Damaged (2007) [EP + DVD; split]

Alternate Version Notes: N/A

Studio/Live: Studio (vinyl), live (DVD)

Recorded: September 11, 2006, Northsix, New York, NY, USA; 2007

Producer(s):

Genre(s): Hardcore punk

Tier: ♥

Key Track(s): “Damaged 3”

Review:

Rock Dream — Diwphalanx/Daymare 2CD (2007)

Boris with Merzbow – Rock Dream (2007)

Alternate Version Notes: Southern Lord versions feature different artwork and packaging; Southern Lord vinyl version includes bonus track “Dyna-soar”

Studio/Live: Live

Recorded: November, 2006, Earthdom Festival, Tokyo, Japan

Producer(s):

Genre(s):

Tier: ♥♥♥

Key Track(s):

Review:

Various Artists – Invocation of Sacred Resonance I (2008)

Alternate Version Notes: The Boris song also appeared on the promo-only digital release Choice Cuts From Releases On Southern Lord 2000 – Present!

Studio/Live: Live

Recorded: October 16, 2007, Echoplex, Los Angeles, CA, USA

Producer(s):

Genre(s):

Tier:

Key Track(s):

Review:

Choice Cuts From Releases On Southern Lord 2000 – Present! (2008)

Alternate Version Notes: This was a promotional-only digital download collection featuring two new live tracks and selected tracks compiled from prior albums, and was originally an exclusive with purchases of Smile from an on-line retailer; “You Were Holding An Umbrella (Live)” also appeared on the contemporaneous various artists label sampler Invocation of Sacred Resonance I

Studio/Live: Live (previously unreleased material)

Recorded: October 16, 2007, Echoplex, Los Angeles, CA, USA (previously unreleased material)

Producer(s):

Genre(s):

Tier:

Key Track(s):

Review:

Statement (2008) [Single]

Alternate Version Notes: “Statement” appears on Smile, while the B-side “Floor Shaker” is a Smile outtake that was also released as a free stand-alone digital download from Inoxia Records

Studio/Live:

Recorded:

Producer(s):

Genre(s):

Tier:

Key Track(s): “Floor Shaker”

Review:

Smile (2008)

Alternate Version Notes: This album exists in two substantially different versions — You Ishihara mixed the Japanese (Diwphalanx) version of the album while Souichiro Nakamura mixed the US (Southern Lord) version — which are so different that some discographies list them as separate and distinct albums; Southern Lord also released a CD version with a bonus DVD containing music videos and added two bonus tracks to the US vinyl edition

Studio/Live: Studio

Recorded: 2007

Producer(s):

Genre(s):

Tier: ♥♥

Key Track(s):

Review:

Smile -Live in Prague- (2009)

Alternate Version Notes:

Studio/Live: Live

Recorded: May 9, 2008, Palác Akropolis, Prague, Czech Republic

Producer(s):

Genre(s):

Tier:

Key Track(s):

Review:

Smile -Live at Wolf Creek- (2008)

Alternate Version Notes: N/A

Studio/Live: Live

Recorded: May, 2008, Wolf Creek, CA, USA

Producer(s):

Genre(s):

Tier: ♥♥

Key Track(s):

Review:

Various Artists – Doggy Style: The Dogs Tribute (2008)

Alternate Version Notes:

Studio/Live:

Recorded:

Producer(s):

Genre(s):

Tier:

Key Track(s): “Slither”

Review:

Japanese Heavy Rock Hits v1 (2009) [Single]

Alternate Version Notes: N/A

Studio/Live: Studio

Recorded: Sound Square, Kitakyūshū, Fukuoka, Japan

Producer(s): Boris

Genre(s):

Tier:

Key Track(s):

Review:

Japanese Heavy Rock Hits v2 (2009) [Single]

Alternate Version Notes: N/A

Studio/Live: Studio

Recorded: Sound Square, Kitakyūshū, Fukuoka, Japan

Producer(s): Boris

Genre(s):

Tier:

Key Track(s):

Review:

Japanese Heavy Rock Hits v3 (2009) [Single]

Alternate Version Notes: N/A

Studio/Live: Studio

Recorded: Sound Square, Kitakyūshū, Fukuoka, Japan

Producer(s): Boris

Genre(s):

Tier:

Key Track(s):

Review:

Japanese Heavy Rock Hits v4 (2009) [Single]

Alternate Version Notes: N/A

Studio/Live: Studio

Recorded: September, 2008, Bazooka Studio, Tokyo, Japan

Producer(s): Boris

Genre(s):

Tier:

Key Track(s):

Review:

The Later Years: 2009-Present

Torche x Boris – Chapter Ahead Being Fake (2009) [EP; split]

Alternate Version Notes:

Studio/Live: Studio

Recorded: Sound Square, Kitakyūshū, Fukuoka, Japan

Producer(s): Boris

Genre(s):

Tier:

Key Track(s): “Luna”

Review:

9dw / Boris – Golden Dance Classics (2009) [EP; split]

Alternate Version Notes: N/A

Studio/Live: Studio

Recorded:

Producer(s):

Genre(s):

Tier:

Key Track(s):

Review:

Boris & Ian Astbury – BXI (2010) [EP]

Alternate Version Notes: Vinyl issued in multiple colors; poster given away with direct orders from the record label

Studio/Live: Studio

Recorded: 2010, Sound Square, Kitakyūshū, Fukuoka, Japan, Bazooka Studio, Tokyo, Japan

Producer(s): BXI

Genre(s):

Tier:

Key Track(s): “Rain”

Review:

Variations (2010)

Alternate Version Notes:

Studio/Live: Studio, live (DVD)

Recorded:

Producer(s):

Genre(s):

Tier:

Key Track(s):

Review:

New Album (2011)

Alternate Version Notes: Japanese LP version included different versions of five tracks than CD; US CD had different track sequencing than Japanese CD and substitutes the song “Luna” for “Black Original”

Studio/Live: Studio

Recorded: Sound Square, Kitakyūshū, Fukuoka, Japan

Producer(s): Shinobu Narita

Genre(s):

Tier: ♥

Key Track(s):

Review:

Attention Please (2011)

Alternate Version Notes: LP also issued in clear vinyl; “Hope” also released as a single

Studio/Live: Studio

Recorded: Sound Square, Kitakyūshū, Fukuoka, Japan

Producer(s): Boris

Genre(s):

Tier: ♥

Key Track(s):

Review:

Heavy Rocks (2011)

Alternate Version Notes: The 2LP version features extended versions of the songs “Missing Pieces” and “Czechoslovakia.”

Studio/Live: Studio

Recorded: 2009-2011, Sound Square, Kitakyūshū, Fukuoka, Japan

Producer(s):

Genre(s):

Tier: ♥

Key Track(s):

Review:

Boris / Saade – Czechoslovakia / Vrah (2011) [Single; split]

Alternate Version Notes:

Studio/Live:

Recorded:

Producer(s):

Genre(s):

Tier:

Key Track(s): “Czechoslovakia”

Review:

Crossing Waltz (2016)

Alternate Version Notes:

Studio/Live: Live

Recorded: Possibly August 5, 2011

Producer(s):

Genre(s):

Tier:

Key Track(s):

Review:

Asobi Seksu x Boris – Asobi Seksu x Boris (2012) [EP/single; split]

Alternate Version Notes: The digital-only EP contains 6 tracks (3 by Boris), while the 7″ vinyl single was a limited edition Record Store Day Black Friday release with just one song from each band

Studio/Live:

Recorded:

Producer(s):

Genre(s):

Tier:

Key Track(s):

Review:

Boris / Joe Volk – Boris / Joe Volk (2012) [Split; solo EP]

Alternate Version Notes: Released as a split LP (though really only of EP length) and also as a digital EP (entitled Cosmos) with just the three Boris tracks; vinyl LP issues were pressed on differently colored vinyl

Studio/Live:

Recorded:

Producer(s):

Genre(s):

Tier:

Key Track(s):

Review:

Boris performing “flood” (2013)

Alternate Version Notes: N/A

Studio/Live: Live

Recorded: November 3, 2012, “leave them all behind 2012” show, Tokyo, Japan

Producer(s): Boris

Genre(s):

Tier:

Key Track(s): [the entire album is a single track]

Review:

Various Artists – Yellow Loveless (2013)

Alternate Version Notes:

Studio/Live:

Recorded:

Producer(s):

Genre(s):

Tier:

Key Track(s): “Sometimes”

Review:

präparat (2013)

Alternate Version Notes: N/A

Studio/Live: Studio

Recorded: Sound Square, Kitakyūshū, Fukuoka, Japan

Producer(s): Boris, Shinobu Narita [?]

Genre(s):

Tier:

Key Track(s):

Review:

Dead End Tribute -Song of Lunatics- — V/A CD

Various Artists – Dead End Tribute -Song Of Lunatics- (2013)

Alternate Version Notes: The Boris song “冥合” was re-released as a stand-alone EP as Myogo

Studio/Live:

Recorded:

Producer(s):

Genre(s):

Tier:

Key Track(s): “冥合”

Review:

Noise (2014)

Alternate Version Notes: Deluxe Edition included six bonus live tracks (separately downloadable with physical formats and included with digital version of album); some LP issues came in marbled vinyl; Japanese Tearbridge 2CD version includes bonus disc “Another Noise”

Studio/Live: Studio, Live (Deluxe Edition bonus tracks only)

Recorded: 2013, Sound Square, Kitakyūshū, Fukuoka, Japan; Deluxe Edition live bonus tracks: June 24, 2011, Madrid, Spain; July 1, 2011, Karlsruhe, Germany; July 7, 2011, Vienna, Austria; October 24, 2011, Montreal, Canada

Producer(s): Boris

Genre(s):

Tier: ♥♥

Key Track(s):

Review:

目をそらした瞬間 -The Thing Which Solomon Overlooked Extra- (2014)

Alternate Version Notes: Copies pressed in clear yellow and purple vinyl; included in the compilation 目をそらした瞬間 -the thing which solomon overlooked- chronicle

Studio/Live: Studio

Recorded: 2013

Producer(s): boris

Genre(s):

Tier:

Key Track(s):

Review:

Boris / Heap – “Big Peach” / “Noel Ford” (2014) [Single; split]

Alternate Version Notes: N/A

Studio/Live:

Recorded:

Producer(s): Boris

Genre(s):

Tier:

Key Track(s):

Review:

Various Artists – Whatever Nevermind (2015)

Alternate Version Notes:

Studio/Live:

Recorded:

Producer(s):

Genre(s):

Tier:

Key Track(s): “Lithium”

Review:

Boris + Endon – EROS (2015) [EP]

Alternate Version Notes:

Studio/Live:

Recorded:

Producer(s): Boris, Endon

Genre(s):

Tier:

Key Track(s):

Review:

Urban Dance (2015)

Alternate Version Notes:

Studio/Live: Studio

Recorded: 2015

Producer(s): Boris

Genre(s):

Tier:

Key Track(s): “Surrender”

Review:

Warpath (2015)

Alternate Version Notes:

Studio/Live:

Recorded: 2015

Producer(s): Boris

Genre(s):

Tier:

Key Track(s):

Review:

Asia (2015)

Alternate Version Notes:

Studio/Live:

Recorded: 2015

Producer(s): Boris

Genre(s):

Tier:

Key Track(s):

Review:

Various Artists – ニンジャスレイヤーフロムコンピレイシヨン「忍」 [Ninja Slayer Nin] (2015)

Alternate Version Notes: “キルミスター” also released as a single

Studio/Live:

Recorded:

Producer(s):

Genre(s):

Tier:

Key Track(s): “キルミスター -Killmister-,” “Aurashi no Ken”

Review:

Various Artists – ニンジャスレイヤーフロムコンピレイシヨン「殺」 [Ninja Slayer Satsu] (2015)

Alternate Version Notes:

Studio/Live:

Recorded:

Producer(s):

Genre(s):

Tier:

Key Track(s): “Memento Mori”

Review:

Various Artists – ニンジャスレイヤーフロムコンピレイション「伐」 [Ninja Slayer Batsu] (2016)

Alternate Version Notes:

Studio/Live:

Recorded:

Producer(s):

Genre(s):

Tier:

Key Track(s): “Hey Everyone”

Review:

Boris + Goth Trad – Low End Meeting (2015) [Single]

Alternate Version Notes: A single-sided 12″ vinyl version was also released (possibly just a test pressing)

Studio/Live:

Recorded:

Producer(s):

Genre(s):

Tier:

Key Track(s):

Review:

Requiem for the Abyss (2016) [Single]

Alternate Version Notes:

Studio/Live:

Recorded: 2015

Producer(s):

Genre(s):

Tier:

Key Track(s):

Review:

現象 -Gensho- — Daymare 4CD Expanded Edition

Boris with Merzbow – 現象 -Gensho- (2016)

Alternate Version Notes: Released initially as an Expanded Edition with two discs of a live show called “Gensho at Fever 11272015”; later issues omit the live show, and have different sequencing between CD and vinyl editions but otherwise the same content; the 4LP version was also pressed in clear vinyl for a “family and friends” edition not offered for sale

Studio/Live: Studio, live (expanded edition only)

Recorded: 2016, Sound Square, Kitakyūshū, Fukuoka, Japan; Live tracks on Expanded Edition: November 27, 2015, Fever, Tokyo, Japan

Producer(s): Shinobu Narita

Genre(s):

Tier: ♥♥

Key Track(s):

Review:

Mr. Shortkill (2016) [EP]

Alternate Version Notes:

Studio/Live:

Recorded:

Producer(s):

Genre(s):

Tier:

Key Track(s):

Review:

Various Artists – Urban Dance U-DNA (2016)

Alternate Version Notes:

Studio/Live:

Recorded:

Producer(s):

Genre(s):

Tier:

Key Track(s): “Day After Day (Urban Dance)”

Review:

Live at Third Man Records (2017)

Alternate Version Notes: A Japanese release features half pink half blue colored vinyl

Studio/Live: Live

Recorded: August 1, 2016, Blue Room, Third Man Records, Nashville, TN, USA

Producer(s):

Genre(s):

Tier:

Key Track(s):

Review:

Dear (2017)

Alternate Version Notes: Japanese issues (on Daymare) include a bonus disc with three additional songs; US 2LP version (on Sargent House) had differently colored vinyl pressings

Studio/Live: Studio

Recorded: 2017

Producer(s):

Genre(s):

Tier: ♥

Key Track(s):

Review: