Wata is a name that inspires awe and respect among the most grizzled tone nerds. From monolithic metal riffers to shoegazing pedal geeks, the diminutive guitarist of Japanese noise rock icons Boris is regarded by those in the know as a tonal wizard.
She is a player who conjures an elemental sound from surprisingly humble ingredients: a Les Paul, Orange and Matamp tube amps, and a few cornerstone pedals – most notably, a wah pedal, Boss DS-1, her EarthQuaker Devices Hizumitas signature, and (the pedal that inspired the latter build) the ELK Gakki Big Muff.
In the latest addition to our In Their Own Words series, Wata explains how she thinks about fuzz and distortion, her dedication to the Space Echo, and her personal history with dirt.
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Sound is an experience
Connecting a guitar amp and playing at high volume, feeling the air and your own body vibrate, and experiencing a sense of oneness with the world, is crucial, with a variety of songs. It is the sensation of becoming the very “piece of music” you are playing, performing in unison with the world itself. I believe that “sound” is, in essence, an experience.
All three members of Boris are deeply particular about guitar tone; we would collect various fuzz pedals and rigorously test them during rehearsals to find the ones that best enhanced our high-volume sound.
The ELK Big Muff I acquired was rich in low-end frequencies; it possessed a unique blend of delicacy and raw power, allowing the tone to constantly shift in character as a note sustained after the initial pick attack. Boris’ music often features slow tempos, long sustains, and feedback-heavy passages, and this fuzz pedal added a wonderful richness and color to those moments.
Bring the thunder
[On tracks like Blackout] I hope to create a sense of majesty, like thunder rumbling in the darkness of night. A single pluck yields long sustain, while the distinct, gritty texture of the fuzz pedal’s distortion allows the tone to constantly shift and evolve. I aim for a sound that melds seamlessly with Takeshi’s bass, allowing the listener to fully immerse themselves in the long, sustained notes.
The Boss DS-1 actually belonged to Atsuo; I kept it on my pedalboard for moments when I needed a touch of light distortion. I decided to keep using it after trying it out in front of the ELK pedal, when I engaged both at once, I got this amazing, long sustain. So I decided to keep using it. It was purely by chance. It was a total coincidence.
Since the [EarthQuaker Devices] Hizumitas is also modeled after the ELK Big Muff, you can achieve a similar effect using the same settings. I never imagined that something I tried out on a whim would become such a crucial part of my sound.
Raise a Blue Cheer
When choosing pedals, I always test them using my own amp and guitar at high volumes, just as I would in a live setting. My approach to signal chains and settings is intuitive; I rarely read the manuals. During band rehearsals, I’ll have the other members listen as we decide on the direction of our arrangements, saying things like, “This pedal sounds great” or “Let’s use it for that song” and sometimes a song is born directly from the unique sound of a specific pedal. Often, my bandmates or the music itself reveal new possibilities to me.
[When I think about the first distortion or fuzz sounds that resonated] Blue Cheer’s Summertime Blues left a particularly strong impression on me. When I first heard it, I was amazed by the sheer mass of sound, the commanding presence, and the boomy tone, things I had never experienced before.
While it seems fewer guitarists are using amplifiers these days, I consider the Orange and Matamp amps I always use to be instruments just as important as the guitar itself. Resonating sound together with my bandmates in the same space is crucial. For me, it is vital to move the air and experience the sound with my whole body, not just hear it with my ears, when making decisions about the tone.
Play to the environment
As I mentioned earlier, the Hizumitas is based on a specific ELK Fuzz unit that I own. It possesses a heavy character that constantly generates tonal shifts, yet it has earned a reputation for being easy to control despite that versatility.
I perform in various locations, and the audience and the atmosphere of the venue at any given moment influence the high-volume amp sound and my use of feedback techniques. Rather than me controlling the guitar sound, it feels more like the environment guides the sound, leading me in my performance.
Just like my amps, fuzz pedals, and wah pedals, the Space Echo RE-150 is a crucial part of my guitar sound [you hear it on tracks like Farewell]. Its wet signal constantly shifts, adding nuance and character to the tone, it feels almost like the unit is playing right along with me. I really love that sense of unpredictability. Although maintaining it is a huge hassle, I make sure to bring it on tour, because I want to share this sound with everyone.
I frequently use a wah pedal for the lead parts in Boris’ songs [for example, PINK]. Much like the fuzz sound, it enriches the guitar tone; it adds a variety of tonal nuances and allows the emotions I feel while playing to come through directly. It produces a pleasant sound that resonates through your entire body.
Even when played at high volume, it doesn’t feel noisy; instead, it’s the kind of sound you could listen to endlessly. It’s similar to the sound of a massive waterfall. The kind of thing you encounter in the great outdoors. That organic feel is important, too.
- Boris is currently on tour in Europe celebrating 20 years of PINK. For more information and tickets, head to Boris Heavy Rocks.
