When I worked at KB Toys store #1051 in Morris Plains, New Jersey, they used to call it “Green Friday,” and as I started there when I was just turned 16, that was how I came to know Black Friday, which is what most people in the US call the day after Thanksgiving — the busiest shopping day of the year and the “official” kickoff of the holiday retail season.

Black Friday takes its name not from the shadow that consumerism at large casts on American culture, but from the simple fact that it’s the day that moves most stores from the red into the black for the year. It’s when they start turning a profit. Seeing an opportunity to continue their mission of promoting independent music culture, the fine folks behind Record Store Day got involved this year, bolstering the event with special releases and other initiatives. I’d expect more of that kind of thing next year.

Late last month, when I was at Redscroll Records in Wallingford, Connecticut, on my apparently annual autumn pilgrimage, I was given a flyer for their Black Friday specials, and knowing that I was going to be in the state for the Thanksgiving holiday, kindly suggested to The Patient Mrs. that I might like to wake up early and hit up the sale, which was 25 percent off everything in stock except for turntables.

So it was. My alarm went off yesterday at 5:35AM, and when I walked into Redscroll at 6:02 or thereabouts, the place was already full. Outside, the sun was just starting to think about rising. As I suspected I might, I had the CD racks mostly to myself (at least as compares to vinyl — LPs are by far the priority for the shop), but it was easily the most crowded I’d ever seen it. People were friendly, though, making way for each other and handing off releases to other potential buyers. I used the 25 percent discount as an excuse to pick up a few odds and ends, most of which I’d already heard, but hadn’t gotten full copies of, and other discs I’d wanted to grab this year that I hadn’t gotten the chance.

For example, I long since own Sovereign by Neurosis, but a quarter off the price was enough for me to grab the 2011 reissue, and stuff like Candlemass‘ Ashes to Ashes live record and Place of Skulls‘ As a Dog Returns had just kind of slipped through the cracks in terms of getting a physical copy. I bought The Body & Braveyoung‘s Nothing Passes to include in the next podcast (no big surprise: it sounds totally fucked), and was hoping to nab The Atlas Moth‘s An Ache for the End for the same reason, but they were out of it, and I drowned my sorrows in some cheap George Carlin, Goblin and Free instead.

Now that I’ve heard the low-end centric mega-grooves of Saturnalia Temple‘s Aion of Drakon, I’m officially stoked to check them out at Roadburn next year. And because I haven’t been able to leave there without doing so the last couple times I’ve been, I picked up a Cable CD, this time the 2008 reissue of their first album, Variable Speed Drive, the original version of which I’ve been hunting on eBay for a bit with no real success.

It was just over $100 for 10 discs, which wasn’t bad and was enough to earn me a free Redscroll t-shirt that I’ll wear proudly. I went back to the motel and crashed out for a couple more hours before getting up and heading south back to Jersey to go to work, and after that, on the way further south to Maryland, I requested yet another stop from The Patient Mrs., this one to Vintage Vinyl, to pick up that Atlas Moth record and settle the matter once and for all. I also got a full copy of Invisible White by Ancestors. Both at full price, and neither with any regret.

Vintage Vinyl in the evening was empty compared to Redscroll in the morning, which was troubling, since that’s pretty much the only shop in New Jersey where I can do something like stop in and pick up an Atlas Moth or an Ancestors CD and be confident that they’ll actually have such a thing. I know they had stocked some of the Record Store Day Black Friday special releases, but hopefully they come around to the sale stuff too, because god damn, I’d hate to lose that place as a resource.

In the meantime, a package showed up in the mail yesterday from All That is Heavy with a copy of Master Sleeps by Hills, which is jammier than I thought it would be, and the Rise Above reissue of Necromandus‘ Orexis of Death, which Tony “I Have Excellent Fucking Taste and Stone Axe is My Band to Prove It” Reed recommended a while back I make mine. Altogether, this probably represents the bulk of the music I’ll buy through the end of 2011, so it was good to send the year out with a bang. I should have plenty to keep me busy until January comes.

Though we drove through Canada to get to Michigan, the plan for the trip back to New Jersey was to make it happen as quickly and as painlessly as possible. That meant jumping on I-75 and meeting up with I-280 in Toledo, Ohio, and from there, picking up I-80 East, which The Patient Mrs. and I would be on for the next however many hours until we could get off 80 literally 10 minutes from home. Toledo to home on one road. Not an exciting drive, by any stretch of the imagination, but easy enough to navigate.

And wouldn’t you know that in Toledo there resides Ramalama Records, from whose logo alone I knew was someplace I wanted to shop? As The Patient Mrs. and I paid for our breakfast at the newly-remolded Original House of Pancakes and the girl behind the counter asked us what we were doing in town, she recommended Culture Clash, another shop that I probably would have wanted to stop at had the wait at said pancakery been the 20-25 minutes we were quoted and not the 45-50 it was. Nonetheless, arrival back in the valley would just have to wait, because Ramalama wouldn’t.

About a minute after I walked in the shop, the dude working there put on YOB‘s The Great Cessation, and I knew that in the whole stretch of Toledo, Ohio — which, like a lot of Midwestern cities, reminded me viscerally of Rt. 46 in Parsippany, NJ — I was in the right place. The store’s used metal section was more than impressive. There weren’t any discs in it, but the fact alone that they had a spot for Trouble was massively encouraging, and the general vibe was that the place was well organized and reasonably priced. A store like that is always a welcome find, even if I don’t end up buying anything.

That, however, would not be the case at Ramalama. I picked up a slew of goodies from the aforementioned used section, up to and including a copy of the self-titled Sod Hauler EP, which was a surprise, since I wouldn’t necessarily expect to find a Seattle local band’s disc at a store more than halfway across the country. Noosebomb‘s Brain Food for the Braindead, released on Shifty Records, from Akron, made more sense. I grabbed both, as well as the Southern Lord reissue of Burning Witch‘s Crippled Lucifer, just for the hell of it.

I made my way through the alphabet in reverse and was surprised to find both Enslaved and Opeth discs. I didn’t buy them, because I didn’t need to, but usually people who purchase those records do so with the intent of keeping them. It was that kind of store; had me thinking at several intervals, “Who gave this up?” The 2000 Koch reissue of Judas Priest‘s Sad Wings of Destiny sounds poorly remastered, but the original issue Screaming for Vengeance is just right. And in light of their being a band I always kind of overlooked and the swirling rumors of a reunion at next year’s Maryland Deathfest, I snatched the Hydra Head reissue of Cavity‘s Supercollider. I own the original, but figured it was a chance to revisit the record, and seriously, how often do you see a used Cavity CD sitting around?

At that point, I could have wrapped it up and let it stand at that, but honestly, after finding that much good shit, I wanted to support the store, and so I picked up new (unused) copies of The Local Fuzz by The Atomic Bitchwax and the 2011 Heavy Rocks by Boris. I probably could have gotten those discs somewhere else, or online, but for a brick and mortar independent store to be featuring both in its “recent releases” section, and to be playing YOB, and to have the Cavity, the Sod Hauler, the Burning Witch — well, at that point, here, please take more of my money. Just keep doing what you’re doing.

I’d brought more than a handful of discs along for the rides to Detroit and back, but I was more than glad for the additions to the playlist. Cavity tested The Patient Mrs.‘ titular virtue, but Boris was most welcome alongside the Blue Cheer, Black Sabbath, Buffalo and Dio albums that — along with the Cleveland Indians losing to the Chicago White Sox — provided accompaniment for our long ride home.

If I posted news about it every time Boris had a release, I’d have to change the name of this website. The Oborisk or something like that. Oboriselisk. I don’t know. Point is, Boris put out records in like two-month intervals, but January marks the issue of their first-ever live DVD, appropriately-dubbed Live in Japan. The PR wire has the info:

Japanese rock experimentalists Boris are well-known not only for their epic discography — they’ve unleashed multiple releases to the public every year in countless formats since their formation in the early ’90s — but also for the captivating live performances they’re constantly booking, playing live throughout every habitable continent on the planet over the past decade and a half. The next official release from the band will bring fans a bit of both worlds, in the form of the band’s first official domestic live DVD from the band!

Set for release via Southern Lord on Jan. 18, 2011, the Live in Japan DVD captures the intriguing power, majesty and unique psychedelia that only Boris can deliver, and will bring the band’s incredible stage act to fans who have never witnessed the band live, as well as diehards who venture out to see the act every chance they get. The footage on this official DVD release was filmed in Tokyo at the final show of the band’s 2008 Smile world tour. Featuring a full set of 11 Boris originals filmed at Daikanyama Unit, as well as three bonus videos from a set at the Shibuya Club Quattro, this DVD is quite special since Boris actually play on other continents much more often than in their home country!

Boris Live in Japan DVD track listing:
1. Flower Sun Rain
2. Buzz-In
3. Laser Beam
4. Pink
5. Statement
6. Floor Shaker
7. Rainbow
8. My Neighbor Satan
9. Ka Re Ha Te Ta Sa Ki – No One’s Grieve
10. You Were Holding An Umbrella
11. ”     ”

Bonus tracks from Shibuya Club Quattro:
12. Tokyo Wonder Land
13. A Bao A Qu
14. Farewell

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This is the mother of them all. Short of doing three songs in as many hours, which I could have done just as or even more easily, I don’t see how any audiObelisk Transmission could get heavier than this one. It’s just a little bit of an excuse on my part to have an easily accessible copy of Dopesmoker at all times, but with new music as well from Hypnos 69, a classic dirge from Teeth of Lions Rule the Divine and one of Boris‘ most avant garde moments, Transmission Zero Zero Nine is an absolute monster. I hope you dig it.

No need to hide the tracklist after a jump since it’s only four songs. Click the banner at the top of this post to get the file, or stream it on the player above. Here’s what we’ve got:

0:00:08 Sleep, “Dopesmoker” from Dopesmoker (Tee Pee, 2003)
There was no way I was going to make this podcast and not include this song. It’s the riff that launched a thousand clone bands, and Sleep‘s shining hour. Literally, an hour. Plenty of time to worship.

1:03:42 Hypnos 69, “The Great Work” from Legacy (Elektrohasch, 2010)
New music from these Belgian classic proggers. It’s the last cut on their new album, Legacy, and maybe their most aptly-titled song ever. Their sense of melody is second to none and the progressive elements in their approach have never shined brighter than they do here.

1:21:53 Teeth of Lions Rule the Divine, “He Who Accepts all That is Offered (Feel Bad Hit of the Winter)” from Rampton (Southern Lord, 2002)
The lineup of Lee Dorrian (Cathedral), Stephen O’Malley (SunnO)))/Khanate), Justin Greaves (Iron Monkey/now-Crippled Black Phoenix) and Greg Anderson (Goatsnake) only put out one album under this cumbersome moniker, taken from a song title on Earth‘s Earth 2. It’s a good thing. I don’t think the universe could handle a second without ripping in half.

1:51:35 Boris, “Flood” from Flood (MIDI Creative, 2000)
Is that guitar forward or backwards? Both? I doubt anyone really knows what Boris are getting up to for the entirety of this song, Boris included. I remember interviewing drummer Atsuo Mizuno a couple years back and he looked at me like my head was on backwards when I asked about it. See if you can figure it out.

Download audiObelisk Transmission 009 here.

You could probably throw darts at oddball combinations of rock bands for six years before you came up with Japanese experimentalists Boris and lead singer Ian Astbury of The Cult, so wouldn’t you know that would have to be the one that actually happened. It’s strange on paper and kind of strange in the hearing, but taking it from the perspective of Boris, who’ve done more collaborations and experimental pieces than I care or am able to count in their 18 years together, it’s just one more wacky thing to add to the list. In your best sitcom-mom voice: “Oh, that Boris. What will they get up to next?”

What they get up to with BXI (Boris x Ian, get it?) is some rock of varied tempo and approach; the EP is a self-titled sampling of what the two distinct personalities have to offer when combined. Four tracks in 20 minutes, it’s a short release, but Boris and Astbury, though it’s certainly an unexpected grouping, doesn’t really sound awkward — and if that seems like a contradiction to the last paragraph where I said it’s strange, you’re unfamiliar with Boris. For a band who so consistently strives to put themselves out of their element, doing something like making a record with Ian Astbury is no crazier than many of the other moves they’ve made. If you’re a Cult fan, that’s just a bonus.

The EP BXI (unsurprisingly released through Southern Lord) starts with “Teeth and Claws,” and right away we understand the idea is to meld a more atmospheric side of Boris’ riffy approach to Astbury’s gruff, classic rock vocalizing. His voice adds an almost Meat Loaf-style teen melodrama to the track, and of course it wouldn’t be Boris if that wasn’t completely turned in its head with the next song. “We are Witches” is driven most by its riff, and there’s a killer solo from either Wata or Takeshi Ohtani, but the bass, the drums of Atsuo Mizuno and Wata’s backing vocals (one could hardly hold being overpowered by Astbury against her) do just as much as any other element to make the song the highlight of the EP. With its oft-repeated title line, the song balances catchy and straightforward with unique and experimental in a way that best encapsulates BXI. If you’re going to sample a song before you decide whether or not to make a purchase, let it be “We are Witches.”

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For the life of me, I don’t know how Boris manages to stay so prolific. For example, within the next two weeks, the core unit of the band will be playing shows not only as themselves (concluding a US/Canada tour), but also as collaborative outfits with the likes of SunnO))) and Ian Astbury of The Cult. We should all be blessed with such a work ethic. I can barely take out the garbage without feeling like the world owes me an ice cream sandwich.

The PR wire has the specifics as to how Boris continues to make us all look bad:

As Boris wrap up their latest month-long North American tour with two California shows this week, they’re also prepare to join forces with several allies for their upcoming live work with Altar and BXI performances scheduled in New York.

First up, Altar (comprised of SunnO))) and Boris as one group) will perform at the All Tomorrow’s Parties Festival in Monticello, New York alongside Sleep, Iggy & The Stooges, Sonic Youth and countless more in a massive outdoor space. Two days later Altar will make another appearance, this time alongside the first official performance of BXI (Boris and Ian Astbury of The Cult), which will all go down at the Brooklyn Masonic Temple, which has been unarguably dubbed “the loudest room in NYC,” and presented by All Tomorrow’s Parties and The Blackened Music Series.

The debut release from BXI is a four-song self-titled EP, which was released by Southern Lord on Aug. 17. The EP is quickly surprising fans of both The Cult and Boris, as well as journalists across the globe, and has listeners taking this new collaboration quite seriously, making this official first concert together an exceptionally special performance for the unit.

Live Performances:
Boris
8/26/2010 Great American Music Hall – San Francisco, CA w/ Red Sparowes, Helms Alee
8/27/2010 El Rey – Los Angeles, CA w/ Red Sparowes, Helms Alee
8/28/2010 The Glass House – Pomona, CA w/ Red Sparowes, Helms Alee
Altar
9/05/2010 ATP Fest – Monticello, NY w/ Sleep, The Stooges, Sonic Youth, more
Altar and BXI
9/07/2010 Brooklyn Masonic Temple – Brooklyn, NY w/ Jesse Sykes and the Sweet Hereafter

Sometimes, my friends, the world is a very strange place. For example: of all the combinations that could happen, would you ever put Japanese rock monsters Boris with Ian Astbury of The Cult/The Doors? I most certainly would not, thus denying myself the right to claim I came up with BXI. It may not make any sense, but I’m willing to wager it kicks at least a little ass, and if there’s a chance of seeing Boris do an interpretation of The Doors‘ “The End” live, I’ll be honest, I could care less who else is around.

The PR wire has this:

Southern Lord proudly announces an incredible collaboration between label artists Boris and Ian Astbury of The Cult and The Doors! This finely-crafted four-song mini release, simply entitled BXI, was tracked and mixed in Tokyo in late April. Astbury‘s vocals are a perfect match for Boris‘s straightforward, laid-back, but still raw and imaginative songwriting constructed for the EP; another intriguing display within the band’s ever-morphing, extensive résumé of releases, tours and collaborations.

To see official CD, LP and digital release this September via Southern Lord, BXI will showcase the already unclassifiable rock of Boris in an entirely new light, and shows a new side one of rock and roll’s most notorious singers. The release features three new original tracks, as well as a cover of The Cult‘s song “Rain”, ethereally vocalized by Boris guitarist Wata. Art and design for the release was commissioned to Stephen O’Malley (Ideologic.org, SunnO))), etc.).

This past weekend, Ian Astbury made an unannounced appearance with Boris at the band’s performance at Sydney, Australia‘s Vivid Live appearance, blowing fans away with this unexpected set which showcased some of the material from the BXI EP as well as a cover of the classic “The End” by The Doors.

BXI EP track listing:
1. Teeth and Claws
2. We are the Witches
3. Rain
4. Magickal Child

Ever the teases, Japanese bringers of the noise Boris have posted a new video to whip up the excitement of the masses as we near the release of their third and final in the Heavy Rock Hits trilogy of 7″s, aptly titled, Vol. 3. Being Boris, in addition to these three singles, they’ve also released a live album, a split with Torche, a split with 9dw and a remix EP this year. That’s just how they do. Here’s the video:

In case you missed the other two teaser videos, they’re after the jump.

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Like them or not, there’s no denying that Japanese experimental rockers Boris are psychotically prolific. With two splits already under their belt for 2009 (one with Torche and one with 9dw), the band are on the verge of releasing three new 7″s of new material in a series called Japanese Heavy Rock Hits. Here’s the deal from the PR wire:

For over 15 years Boris has lead the charge as Japan?s most exciting experimental rock act. This fall marks yet another first for the band as they release Japanese Heavy Rock Hits, a series of 7″s showcasing their wide-reaching, genre-smashing sound. The band has been locked in the studio over the last few months and in association with Southern Lord are ready to bring to you their latest offerings. Over the course of the next three months three brand new exclusive vinyl 7″s will be released.

September
Japanese Heavy Rock Hits Vol. 1
Side A: “8″
Side B : “Hey Everyone”

October
Japanese Heavy Rock Hits Vol. 2
Side A: “H.M.A. – Heavy Metal Addict”
Side B: “Black Original”

November
Japanese Heavy Rock Hits Vol. 3
Side A: “16:47:52?”
Side B: “…and Hear Nothing”