[Column] Boredoms: The trajectory of the builder of chaos and the expanding universe
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Prologue: Who were the Boredoms?
Text: mmr｜Theme: Following the evolution of Boredoms, and how its work form, live performances, and derivative units have developed.
In the history of Japanese music, Boredoms occupy a unique position as an entity that cannot be fully explained in any context. Formed in Osaka in the late 1980s, they went on to influence musicians around the world, morphing into noise, hardcore, avant-garde, psychedelia, and later rhythm ensembles.
Because Boredoms transcends genre boundaries, it cannot be captured in a simple historical narrative. However, their activities were certainly linked to the times, and at the same time disconnected from them.
Chapter 1: Pre-formation history and strata of Osaka Underground
In the 1980s, Osaka had a unique underground culture that was different from that of Tokyo. A mixture of theaters, abandoned buildings, and live music venues created many places where the boundaries between punk, hardcore, noise, and performance art were blurred. Yamatsuka Ai, the core member of Boredoms, sought out her own expression while absorbing this cluttered environment.
In his early years, Ai’s activities were strongly performance-oriented, and he practiced not only sound, but also body movement, objects, and collage-like expressions. After passing through this “pre-music” stage, Hanatarash, which would later become the prototype of Boredoms, began to take shape.
Figure 1: Early genealogy of Ai Yamazuka
Hanatarash’s live performances are known for their extremeness, and their dangerous behavior, such as bringing in heavy machinery, has sometimes been called into question. This extreme violence and expressive impulse later morphed into the “controlled chaos” of Boredoms.
Chapter 2: The establishment of Boredoms and the early hardcore period (1986–1990)
Boredoms started in Osaka around 1986, and early members included Ai Yamazuka, Mitsuru Tabata, Toyohito Yoshikawa, and HIRA. Their early work was a dense mix of the speed of hardcore and the destructive power of noise, with structures that alternated between screams, fragmented beats, and sudden silences.
In 1988, they began to attract attention in the overseas indie scene and became a hot topic in the underground community in the United States. In 1989, they were strongly supported by Sonic Youth, and through interaction with them, they were connected to American large indies.
Musical structure of early Boredoms
Live performances during this period were always unpredictable and the action on stage was intense, but the ensembles gradually became more precise and the acoustic structures became more complex.
Chapter 3: The psychedelic period of the 90s and the acquisition of constructedness (1990–1999)
3-1. Reaching “Super æ”
1998’s ““Super æ’’ (Super æ) is a work that maintains the traditional elements of noise mixture, but greatly emphasizes sonic order, repetition, and minimalism. The sound became layered, a trance feeling slipped into the repetitive rhythm, and it began to take on a psychedelic feel.
3-2. The pinnacle of “Vision Creation Newsun”
The following year, 1999’s Vision Creation Newsun was one of the defining works of Boredoms’ career. Natural sounds, ethnic percussion, sustained sounds and cyclical structures, guitar drones, multi-layered rhythms…
The Boredoms weren’t even a “rock band” here, but instead deepened into cosmic minimalism and ritual trance.
3.3 Background of psychedelization
- Ai’s perspective shifts from impulsive destruction to “cosmic expansion”
- Yuka Yoshimura (Yoshimi) plays a central role, bringing about important developments in drums/vocals/electronics.
- Increased interest in minimalism and repetitive structures
As a result, his works in the late 1990s changed to a “vortex of light” sound, and gained international acclaim.
Chapter 4: V∞redoms/Rhythm ensemble period with bore drums (2000–2010)
4-1. Movement of members and changes to new structure
In the early 2000s, a major change occurred in the membership composition. The guitarist and bassist were left out, and the lineup moved toward a new structure centered around “drums and percussion.” The multi-layered style of drums and percussion centered around Yoshimi P-We would become the hallmark of Boredoms.
4-2. New phase with “Seadrum / House of Sun”
In 2004, released “Seadrum / House of Sun”. Elements of beach recording, long drones, meditative structures, ambient sounds and repetition combine to create a world that feels like a ““sonic ritual’’.
Here, the band’s name is often written as V∞redoms, and the concept of Boredoms itself changes to a ““collective creative body’’ rather than a musical unit. In the 2000s, Boredoms entered into new developments, including the name V∞redoms, and the most iconic one was the large-scale drum ensemble that started with the ““7x7x7’’ live held on July 7th**.
4.3 Significance of bore drum
- Huge polyrhythm structure with multiplayer drums
- Circular venue layout that draws in the audience
- Emphasis on visual/physical experience directed by Ai
Structural diagram of bore drum
Chapter 5: Activities since 2010s
Since the 2010s, Boredoms has continued to perform live performances intermittently, while each member’s creative activities have deepened. In particular, Eye”s visual art activities and Yoshimi”s activities with OOIOO/SAICOBABA expanded, giving the impression that Boredoms was more of a ““collective project” than a ““band.”
Chapter 6: Establishment and evolution of OOIOO
OOIOO is a project started by Yoshimi P-We in the late 1990s, and although it has a different direction from Boredoms, it has a strong deep connection with Boredoms.
6.1 Features of OOIOO
- Multi-layered percussion
- Magical/environmental voice
- Fusion of polyrhythm and minimalism
- Flexible structure based on changes in member composition
OOIOO music structure
OOIOO”s activities interact with Boredoms’ late rhythm ensemble, and the structure has a structure in which Yoshimura”s direction returns to Boredoms’ sound.
Chapter 7: Yamataka Eye’s personal history and creative outlook
In this chapter, I will systematically organize the personal activities of Yamatsuka Ai, which have been mentioned in fragments so far.
7.1 Initial interest
- Collage, Manga, Concrete Art
- Destructive performance
- Interested in “place” rather than sound
7.2 Formation of sampling sense
Since the early 1990s, Ai has used turntables and cassettes as materials, specializing in ““tactile editing’’ that connects fragments of physical sound.
7.3 Inclination to Rhythm (2000s)
During the bore drum period, Ai’s interest shifted greatly to the physical aspects of rhythm, and his role as a conductor became central.
Evolution of Eye expression
Chapter 8: Systematizing the musical structure of Boredoms
In this chapter, we will structurally organize the music of Boredoms.
8.1 Opposing polarities
- Destructive/Sudden Elements
- Repetition and gaining structure
By moving back and forth between these polarities, their work has a unique fluidity.
8.2 Rhythm structure
In later Boredoms, rhythm became the subject, and melody and lyrics moved to a supporting role.
Chapter 9: Membership changes and ensemble expansion
One of the characteristics of Boredoms is that there is little fixed membership, and roles continue to expand.
- Yoshimi: Drums/Vocals/Percussion/Electronics
- Shinji Masuko: Guitar and equipment construction
- E-Da: Drum
- Yo2ro: Drums
- Others: Many diverse drummers and guests participate.
Chapter 10: Historical timeline of Boredoms
Final chapter: Boredoms is an “expanding universe”
Boredoms is more than just a band, it can be said to be a “place itself” that changes its shape over time. Ai”s philosophical perspective, Yoshimi”s physical rhythm, and the uniqueness of each member are intricately intertwined, and the group has grown like one giant living organism.
If you take a look at it, including the personal history of OOIOO and Eye, the activities of Boredoms continue to spread like a ““centerless vortex,’’ and their influence continues to be referenced all over the world.
