Track number four is denoted by a spiral symbol, whether these symbols relate to the songs is arguable but ultimately not of too much interest in comparison to the actual content. This is my favorite song on the album, if I was forced to pick one out. Not only does it showcase some really amazing guitar work from Yamamoto Seiichi, it has the most intense working of crescendo I have ever heard.
To the crescendo part first. I have long marveled at the way “Spiral” seems to build and build throughout the entire song. It seemingly reaches a climax and then ratchets it up another notch every time, even though it seems the peak has been achieved. True to the entire record, the previous track (Heart) bleeds into the beginning with what sound like jungle noises and bongos, very hippie stuff actually. Eventually Eye chimes in with his gibberish and the bass starts up the music again. Yamamoto fades in with dueling guitar tracks in the left and right channels and then the whole thing takes off. Again, it is just remarkable that a band can prolong tension like this. It is one of the only tracks I listen to often as a separate piece of music from the whole.
Now to the guitar work. The mechanics of the guitar alone here are pretty amazing. Yamamoto maintains no less than three separate tracks, two of which chop across one another from the left and right tracks and one that acts like a rhythm track up the center. It seems really nerdy to dissect this stuff but the net result is mesmerizing. As for what he is playing, and this will come up again in future posts, his work has so much texture and depth to it without announcing itself like some shredder feels the need for. These are basic repeated chords playing off each other for a bigger effect. In fact, Yamamoto’s guitar is an intensely understated piece of the Boredoms puzzle of this era. It never screams at you but it will smack you in the back of the head if your ears open themselves up to it. I could listen to this one all day.
Rating – 5 of 5