The fact that three of the early Boredoms albums came out on Warner/Reprise in the 90's is still one of the oddest moves in major label history. How anything this crazy and weird and far-out got that kind of mainstream exposure is still pretty unbelievable, even by today's standards, the music of the Boredoms is anything but accessible. Early on, the band was influenced heavily by the wacko acid-punk of the Butthole Surfers, but they took it into far more extreme and cacophonous directions; any one of their songs could smash together random noises, raging hardcore punk, super noisy guitars, weird studio effects, crazy cartoon voices and random babbling, whipped into a frenzy of jarring, totally unpredictable arrangements. All three (Onanie Bomb Meets The Sex Pistols, Pop Tari, and Chocolate Synthesizer) eventually went out of print, but were later reissued on Very Friendly and are finally in stock here at C-Blast - the early, hardcore-laced Boredoms albums are my favorite releases in their canon (along with the classic Soul Discharge), and are prime for discovery for anyone new to their insane, psychedelic, speed-charged Bore-mania...one listen to any of these albums, and you'll hear where an entire generation of noisecore/noise rockers got their inspiration from...

More than twenty years later, the earliest Boredoms material hasn't lost one iota of its insanity. Onanie Bomb collects the first two releases from Boredoms, the Osozeran No Stooges Kyo LP from 1988 and the Anal By Anal EP from '86, and together demonstrate that Boredoms were seeking to destroy from the very start. The thirteen tracks blast and howl and go apeshit in short order, constantly taking off on a myriad of musician tangents; taking their Butthole Surfers influence to the nth degree, the band goes from the percussive dirge and orgiastic cartoon chaos of "We Never Sleep" to the bent acid-punk stomp of "Young Assouls", which almost sounds like a warped DK dirge with someone dismantling a guitar off to the left; there's the demented noise-damaged rockabilly strut of "Bite My Bollocks", "Call Me God"'s low-fi brain-damaged boog, and the nuclear noise/thrash of "No Core Punk" and "Melt Down Boogie" that takes early Earache inspired blastery and tosses it into a cuisinart. The other tracks are just as maniacal: grindore-meets-Carl-Stalling cartoon blasts collide with apocalyptic psychedelia and improv smashing, speed metal solos and weird mutant dubby bass lines and spastic slobbering hardcore punk disappear into fields of pure radio static, lurching skronking punk finds itself stacked with bleating horns and wailing acid-rock guitar, tumbling into blown out surf raveups or passages of nothing but random screaming or someone burping. This stuff is puerile and terminally silly, but there's a ton of power and way-out noise punk deconstruction here that makes this essential for Boredoms fans and anyone into extreme noisecore.