It had been my intention to spend yesterday (Sunday) making the November podcast using the suggested Southern theme, but two things kept me from meeting that goal. First was homework, which can’t be helped. Second, and more pivotal, was the fact that I don’t yet own a physical copy of Spiral Shadow by Kylesa.

Fucking tragedy, right?

I tried to remedy this first at Sound Exchange in Wayne, my go-to shop for its proximity to my humble river valley and for the fact that if it’s between them and almost anyone else in the physical realm, I’d rather give them the money. They were a no dice. Thus began the agonizing, drawn-out process of not wanting to drive to Vintage Vinyl in Fords — an hour away on a good day — and knowing that I had zero chance of finding Spiral Shadow anywhere else near me.

My ride to Vintage Vinyl is agony, and not just because I have to spend the whole time anticipating what treasures I might find when I get there. It includes some of Northern New Jersey‘s most cripplingly boring roads, including Rt. 24, Rt. 78 and the ludicrously engineered Garden State Parkway. Nonetheless, at about four o’clock yesterday afternoon, after whining for nearly two hours about how much I didn’t want to make the trip — and no, it’s not lost on me that that’s long enough to make the trip twice over — off I went.

Should’ve called first. They didn’t have it. They’d only gotten a few copies and those were gone. Boy, did I feel stupid. Who does that? Who spends two hours in a car at the prospect of buying a CD without calling first to make sure the store has it?

I drowned my jackass sorrows in picking up The Elf Albums by Ronnie James Dio (and the rest of Elf, who aren’t cool enough to get mentioned on the cover), a used copy of Celestial Hi-Fi by Sheavy, who I never particularly enjoy hearing but keep buying the records of when I see them, Hippie Killer by Bongripper for $6.99, a used copy of the Boris and Ian Astbury collaboration, BXI, and, for $3.99, the version of Entombed‘s Wolverine Blues with the (apparently not) titular Marvel Comics character on the front.

The latter was obviously the find of the trip, but even that wasn’t enough to make me feel like any less of an idiot for spending that much of my day in blind pursuit of Spiral Shadow, which, it should be noted, I still haven’t gotten and is now holding up the November podcast. I don’t own Black Tusk either, but there are enough bands around who sound just like them that I can let that go. The Kylesa I pretty much need. The dude behind the counter said they’d be getting more this week, and I might try another run tomorrow, but needless to say, I’ll be calling first.

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