When a band like Boris releases an album called Noise, you’re expecting just that—piercing, screeching, glorious guitar noise from a difficult-to-pigeonhole band that trades in stoner rock, sludgey doom metal and shoegaze. And to an extent, that’s true, but Noise is actually one of the most traditional rock albums the band has produced, amidst its many releases and collaborations. The first song is called “Melody,” and true to that promise, it’s a melodic rocker in the vein of forefathers like Swervedriver or Smashing Pumpkins, full of searching, psychedelic verses and pummeling, volcanic choruses. Much of Noise can be tender, though. “Ghost of Romance” allows the band to explore spacious, moaning guitar tones, and singer/bassist Takeshi’s affecting falsetto makes the song feel a little like early Radiohead or Sigur Ros, before a pulverizing, fuzzed-out solo blows that comparison out of the water. Guitarist/singer Wata crawls through the creepy doomgaze of “Heavy Rain,” sounding like the last survivor in a Japanese horror film. But Boris are most shocking here when completely breaking rank with their previous work, on “Taiyo No Baka,” which begins with a lo-fi, thumping little tune before moving into what sounds like the follow-up to “1979” that the Pumpkins never wrote—surprise, surprise, Boris are great at writing pop songs. But not to worry, Boris fans—the band you’ve come to know and love still roars back on songs like “Quicksilver,” a pure melodic metal tune among the band’s best. Though Noise changes the game a bit for Boris, the band’s focus on tunefulness is welcome, especially since they still haven’t abandoned the destructive sound on which they’ve made their name.