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Boris with Michio Kurihara - Live at U.F.O. CLUB (2026) Hi-Res

Boris with Michio Kurihara - Live at U.F.O. CLUB (2026) Hi-Res

BAND/ARTIST: Boris, Michio Kurihara

  • Title: Live at U.F.O. CLUB
  • Year Of Release: 2026
  • Label: Relapse Records
  • Genre: Stoner Rock, Psychedelic Rock, Ambient, Metal
  • Quality: FLAC (tracks) / FLAC (tracks) 24bit-48kHz (d.booklet)
  • Total Time: 1:27:59
  • Total Size: 597 Mb / 1.10 Gb
  • WebSite:
Tracklist:

01. Intro (...e, eu quero -滲む残像-) (2:41)
02. Rafflesia -ラフレシア- (5:10)
03. Brilho -閃光へ- (4:58)
04. The Wind's Twelve Quarters -風の12方位- (7:46)
05. Flower Sun Rain -花 太陽 雨- (8:28)
06. the evilone which sobs -泣きたがるスピード- (13:50)
07. Arco-Iris -虹が始まるとき- (6:08)
08. Você sorriu como uma marca d'água -不透明度- (7:33)
09. Time To Go -夕暮れのジャイロ- (3:02)
10. Narrador da espaçonave -シャーボ- (3:40)
11. Doce No 1 -スウィート No.1- (6:07)
12. Missing Pieces (12:23)
13. Tenshi -天使- (6:07)

This release marks the second installment of the 20th anniversary project celebrating the original studio album Rainbow (2006). It documents a live performance recorded on February 8, 2019, at U.F.O. CLUB in Higashi-Koenji, Tokyo.

Michio Kurihara is a singular guitarist who has played a central role in Japan’s psychedelic rock scene through his work with YBO2, White Heaven, THE STARS, and other key projects. Rainbow, created and released in 2006 under the name Boris with Michio Kurihara, reaches its 20th anniversary this year. Since 2007, Kurihara has also joined Boris as a support guitarist on tours and live performances, while performing on several occasions under the Boris with Michio Kurihara name in parallel.

Centered around material from Rainbow, the setlist also includes two songs from Kurihara’s solo album Sunset Notes, two tracks from the Boris catalog, and covers of P.Y.G. and Canis Lupus, resulting in a richly varied performance. Throughout the night, a relaxed atmosphere prevails, while Kurihara’s playing shifts freely from high-impact fuzz guitar to delicate, psychedelic textures, constantly transforming its expression from moment to moment.

The recording itself—captured using a direct board feed and microphones mounted on the venue ceiling—cannot be described as high fidelity. Even so, as a document of that evening, it vividly preserves the many shifting faces of the four musicians’ shared space and sound, and invites the listener to experience the atmosphere of the night as it unfolded.




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