Oh man, Boris and Merzbow are gonna drone-noise your face off. You’re gonna be all like, “Hey I used to have a face, what gives?” and it’s just not gonna be there anymore because it will have melted into a puddle of formerly-face goo from all the experimentalist abrasion of Boris with Merzbow‘s new collaborative album Gensho, which is out sooner or later on Relapse Records. Do you even know what a new face costs these days? Good. You don’t want to know. Check out the album teaser if you dare.

Portrait of my brains, splattered all over the PR wire:

BORIS With MERZBOW Announce Details Of New Collaborative Album Gensho; Premiere Live Video + Trailer

Renowned Japanese innovators BORIS and MERZBOW have teamed up with Relapse for their new collaborative 2xCD/4xLP Gensho, one of the artists’ most daring works to date. Named after the Japanese word for “phenomenon,” Gensho is a unique release featuring over one-hundred-and-fifty minutes of new music spread across two CDs and four LPs (available as two separate double LP sets or a deluxe 4xLP edition).

The BORIS songs are percussion-less reinventions of classic tracks from the band’s storied catalog, while MERZBOW’s tracks are entirely new compositions. The two sets are intended to be played at the same time at varying volumes so that the listener can experience their own “gensho/phenomenon” every time. The artists also commented, “of course you can enjoy both albums as a separate work.”

As with every BORIS and MERZBOW collaboration, the only thing to expect is the unexpected, lending the album near-infinite potential for aural discovery and encouraging direct interactivity with the listener rarely found in such unconventional music. An untouchable paroxysm of noisy, droning experimentation! Gensho is due out worldwide this coming March 18th via Relapse Records.

Though BORIS and MERZBOW have an extensive history of collaborating with one another, this latest effort was born out of a one-off show in 2014 for Boiler Room TV, when the two acts decided that their set from that day was worthy enough to perform in the context of a proper studio recording. A complete track listing is included below.

Gensho Track Listing:
1. Boris – Farewell (Disc 1)
2. Boris – Huge (Disc 1)
3. Boris – Resonance (Disc 1)
4. Boris – Rainbow (Disc 1)
5. Boris – Sometimes (Disc 1)
6. Boris – Heavy Rain (Disc 1)
7. Boris – Akuma No Uta (Disc 1)
8. Boris – Akirame Flower (Disc 1)
9. Boris – Vomitself (Disc 1)
10. Merzbow – Planet of the Cows (Disc 2)
11. Merzbow – Goloka Pt.1 (Disc 2)
12. Merzbow – Goloka Pt.2 (Disc 2)
13. Merzbow – Prelude to a Broken Arm (Disc 2)

BORIS will also be performing live at Levitation Fest in Austin, Texas this coming April. More info on upcoming live dates coming soon.

BORIS:
4/29 – 5/01/2016 Levitation Fest – Austin, TX

http://relapse.com/boris-merzbow/
https://borismerzbow.bandcamp.com/
http://www.borismerzbow.bandcamp.com
http://www.borisheavyrocks.com
http://www.facebook.com/borisheavyrocks
http://www.merzbow.net
http://www.relapse.com
http://www.relapserecords.bandcamp.com
http://www.facebook.com/RelapseRecords

Boris with Merzbow, Gensho album trailer

Boris with Merzbow, “Huge” official live video

Anyone who tells you they know what a Boris release is going to sound like before they’ve actually heard the thing is a liar, and as such, I’m not even gonna guess what the reignited Boris with Merzbow collaboration might be up to on Gensho, the two-disc full-length it will offer up via Relapse Records in Feb. 2016. With over 150 minutes of music — or, you know, something; these definitions get pretty fluid — spread across the two discs meant to be played at the same time, it seems fair to say it’s going to be an experience one way or another, but probably best to leave it at that for the time being.

The last Boris with Merzbow release was 2011’s Klatter, which was recorded in 2004. If you want to feel old, it’s been a decade since they released Sun Baked Snow Cave on Hydra Head.

To the PR wire:

BORIS WITH MERZBOW: COMPLETE NEW COLLABORATIVE FULL-LENGTH GENSHO; ANNOUNCE EXCLUSIVE ONE-OFF SHOW IN JAPAN

Renowned Japanese innovative team BORIS WITH MERZBOW has completed recording a new collaborative full-length LP entitled Gensho, which is Japanese for “phenomenon”. Gensho is a unique release featuring over 150 minutes of new music spread across two discs. The BORIS tracks are new reinventions of the band’s classic songs, while the MERZBOW songs are new compositions. BORIS and MERZBOW have each contributed exactly the same amount of music, with the two discs intended to be played at the same time on physical speakers at varying volumes so that the listener can experience their own “gensho/phenomenon” every time. The artists also commented, “Of course you can enjoy both albums separately, as a separate work.” Gensho is slated for a February 2016 release via Relapse Records.

Though the artists have an extensive history of collaborating with one another, this latest effort was born out of a one-off show in 2014 for Boiler Room TV, when the two acts decided that their set from that day was worthy enough to perform in the context of a proper studio recording. As with every BORIS and MERZBOW release, the only thing to expect is the unexpected. Each artist’s individual contribution to Gensho weaves through countless disparate textures with a varied sonic palette, to say nothing of the effect when both records are played simultaneously. The unique presentation of the album lends it near-infinite potential for aural discovery, and encourages direct interactivity with the listener rarely found in such unconventional music.

BORIS WITH MERZBOW have also announced an exclusive one-off show in Tokyo in support of Gensho this November. More details about Gensho including album art, tracklisting and song samples will be revealed shortly.

BORIS WITH MERZBOW Live:
Nov 27 Tokyo, JP Fever

BORIS is:
Takeshi (Vocals, Guitar & Bass)
Wata (Vocals, Guitar & Echo)
Atsuo (Vocal, Percussion & Electronics)

MERZBOW is:
Masami Akita – electronics

http://www.facebook.com/borisheavyrocks
http://www.borisheavyrocks.com/
https://twitter.com/borisheavyrocks
https://www.facebook.com/OfficialMerzbow
http://merzbow.net
https://twitter.com/MerzbowOfficial
http://relapse.com/

Boris with Merzbow, Live at the Boiler Room, Tokyo, 2014

Boris, Akuma no Uta (2003)

For those not already initiated, the catalog of Tokyo experimentalists Boris can seem an insurmountable undertaking. In their 23-year history, they have 22 studio albums — including three already this year — and that doesn’t even get into different editions, limited reissues, special releases, singles, EPs, splits, or collaborations like those they’ve done with Keiji Heino, Michio Kurihara, SunnO))) or Ian Astbury of The Cult. They are among the most prolific and essential acts of their generation, proffering genuine creative boldness in being equally willing to take on feedback-laden heaviness, Jpop, or ambient drone on whatever whim they might be following at that moment, and their records often vary in concept and idea as much as sonics. For a genre where playing loud and then playing quiet often serves as “dynamics,” Boris are truly versatile, a decades-long whirlwind of creativity that shows no sign of stopping, slowing or giving up its adventurous spirit.

Akuma no Uta is the fifth Boris full-length, the title translating to English as “The Devil’s Song.” Originally released in 2003 with a shorter runtime and different artwork, it would be picked up by Southern Lord in 2005 — the label has also handled various pressings for several other releases, among them the band’s 1996 debut, Absolutego, and its 1998 follow-up, Amplifier Worship, both pivotal listens for anyone who might be bold enough to embark, and later works like 2006’s Pink and 2008’s Smile, of which there are so many versions it might as well be three albums — and reissued with its Nick Drake tribute cover and a different version of “Intro,” its opener, that shifted from under three to over nine minutes long. That track’s wide, riffy sprawl is immersive, but only scratches the surface of what the self-producing three-piece of drummer/vocalist Atsuo, guitarist/vocalist Wata and bassist/vocalist Takeshi would ultimately have on offer, shifting to blistering noise rock on a dime with the transition to the blown-out Hendrixology of “Ibitsu” before stripping down to the garage punk of “Free” to round out what comprises side A of the vinyl.

The highlight of the record, however, comes with side B’s “Naki Kyoku” (“Crying Song”), which keeps a mostly instrumental roll while jamming out with a vitality that makes believable the proposition that Akuma no Uta was recorded in one take, as the band has said. That track itself is a masterpiece of naturalistic heavy psychedelia, and Boris rightly take their time to let it unfold as it does before turning around for the more straightforward and classic rocking “That Woman’s Volume” and rounding out the album with the drone metal title-track, a huge, lumbering groove pushed well into the red, drums no less distorted than the guitar or bass amid a swirling, insistent, untamed chaos. Rawer than Heavy Rocks, which preceded it and was the beneficiary of a sequel with the same title in 2011 (they don’t make it easy to keep up), and less outwardly experimental than their landmark 2000 single-song third album, Flood, Akuma no Uta struck a balance all its own, and it’s a big part of why Boris are considered today as indispensable as they are.

As always, I hope you enjoy.

—

Ugh, today. Today was the first real day at the new job where I felt like I was completely overwhelmed and like my skull was about to cave in on my brain. I made it more than two weeks, so I guess that’s a win on some level. I’ve no doubt that today won’t be as bad as it ever gets, but woof, what a shitter. Kind of refreshing in a terrible, frustrating, here’s-me-sitting-at-my-desk-with-my-head-in-my-hands-cursing sort of way. I was due for a day like today, and now that it’s almost over, I’m relatively sure that I survived. Still, just fucking awful. Monday will be better.

If I’m totally honest, part of that feeling like crap comes from regret at missing the Eye of the Stoned Goat 5, which kicks off in about an hour on Long Island. It’s a four-plus-hour trip from here. Don’t think I’m gonna make this one. Or the Maryland Doom Fest at the end of this month. Both of which I’m thoroughly hating myself for, rest assured. Because punk rock guilt is a thing I need in my life.

I had the little dog Dio with me at the office today though, and she makes everything better.

Monday, a review of the High on Fire record. Tuesday, a lyric video premiere from Destroyer of Light. Wednesday, who knows? Could be anything. Look out for reviews upcoming for Valkyrie, Eternal Fuzz and Snail. Probably won’t all be before the end of next week, but soon. I’ve also just about got the Quarterly Review planned. Should finish that up this weekend and dig in starting June 29. Looking forward to that, though I have no idea how I’m going to pull it of yet. As I recall, I didn’t when I mentioned it last week either. Nice to have made progress.

BUT — I’ve got two days to bury my head and launch a recovery effort from the mess that was today, so I’m gonna go do that and be thankful for things like my wife, my dog, my family, my new Bloodcow t-shirt, Black Sabbath‘s Master of Reality, and so on.

All the best to you and yours. Have a great and safe weekend, and please check out the forum and the radio stream.

The Obelisk Forum

The Obelisk Radio

Click Here to Download

[mp3player width=480 height=150 config=fmp_jw_widget_config.xml playlist=aot36.xml]

It was getting on two in the morning last night and I was yet again trying to figure out how to get the audio editing software I use to make podcasts to work on this laptop. Numerous failed downloads later, I decided screw it, I had nothing to lose, and I zipped up the directory containing the program on my old computer, WeTransfered it to myself, and unzipped it on the newer machine. Frickin’ worked. I couldn’t believe it. Proof that sometimes the stupidest solution of all is the way to go.

This is the first new podcast in a long time, I know. There’s been a lot of really cool stuff coming out in the last few months, but I wanted to still keep it as recent as possible. Some of this is out now and has been for a couple weeks, some of it isn’t out yet. I think it’s a good mix or I wouldn’t have uploaded it, and it gets pretty heavy for a while there, so watch yourself. Figured a good couple of rockers to open wouldn’t meet any complaints either, and hopefully that’s the case. Please enjoy.

First Hour:
Fu Manchu, “Radio Source Sagittarius” from Gigantoid (2014)
Radio Moscow, “Death of a Queen” from Magical Dirt (2014)
Abramis Brama, “Blåa Toner” from Enkel Biljett (2014)
The Ultra Electric Mega Galactic, “Spoonful” from Through the Dark Matter (2014)
Boris, “Heavy Rain” from Noise (2014)
Eyehategod, “Robitussin and Rejection” from Eyehategod (2014)
Serpentine Path, “House of Worship” from Emanations (2014)
Triptykon, “Boleskine House” from Melana Chasmata (2014)
Wovenhand, “Field of Hedon” from Refractory Obdurate (2014)
Been Obscene, “Memories of Salvation” from Unplugged (2014)
1000mods, “Reverb of the New World” from Vultures (2014)
Electric Citizen, “Light Years Beyond” from Ghost of Me b/w Light Years Beyond (2014)

Second Hour:
Mars Red Sky, “The Light Beyond” from Stranded in Arcadia (2014)
Salem’s Pot, “Creep Purple” from Lurar Ut Dig På Prärien (2014)
Black Bombaim, “Arabia” from Far Out (2014)
Dopelord, “Pass the Bong” from Black Arts, Riff Worship and Weed Cult (2014)
Holly Hunt, “Prometheus” from Prometheus (2014)

Total running time: 2:01:21

Thank you for listening.

Download audiObelisk Transmission 036

As you can see in the banner above, the lineup for Desertfest 2014 in London wasn’t exactly hurting as it was, but to have Weedeater get added yesterday and top off the week today with announcing that Boris had signed on to headline alongside Spirit Caravan and Kvelertak, and well, I guess we can call 2014 the year Desertfest “went for it.” Goodness gracious, that’s a solid bill. Makes me want to take out a loan to get there to see it.

While my broke, overworked and underpaid ass hangs its head in an all-too-familiar shame, here are the announcements, snagged off the Desertfest website, with compliments to Tom Geddes, who wrote them:

TOKYO EXPERIMENTALISTS BORIS TO HEADLINE DESERTFEST 2014!

And so we announce our final headliner for DesertFest 2014 – Japanese experimental legends Boris!

How on Earth can you capture Boris’ sound in words? It’s beyond impossible; from drone, to sludge, to doom, to psyche, to ambient, to noise rock, to pop, here is a band that you can’t pigeonhole. But it’s in that unpredictable, ever-marching progression that the excitement lies.

Boris formed in 1992 on the extreme fringes of the Japanese hardcore punk scene before flying in every musical direction you can think of. Spending most of their life as a multi-instrumentalist three piece – consisting of Atsuo on drums, Wata on guitar and keyboards and Takeshi on bass, with all three sharing vocal duties – Boris have released just shy of a couple of dozen full lengths in their time on this mortal plane, with no two sounding too alike. Notable influences on Boris are Sleep and The Melvins – which might explain their high yield of records – as well as Nick Cave and even Venom.

The best starting points for a Boris exploration are 2005’s ‘Pink’ –which is perhaps one of their more accessible albums for the casual listener, yet still full of their signature leaps and bounds – and both 2002’s ‘Heavy Rocks’ and 2011’s ‘Heavy Rocks II’ which sit on a more laid back, straight-up stoner rock scale. If you’re more into drone, why not start with the first few releases; or even better, ‘Alter’, a phenomenal collaborative double album with SunnO))). Or you may want to try something completely different, in which case enter the batshit crazy world of 2010’s ‘New Album’ – a blend of J-Pop, shoegaze, psyche and industrial metal. The point is, these guys can do anything, and do it bloody well!

So if you want your mind blown by a band who don’t only surprise you with what’s around the corner, but change the shape of the corner itself, then you must get yourself down to the Electric Ballroom on Sunday night and stand both slack-jawed and in awe. Oh, and if you’re still not convinced, they also incorporate a massive gong into their shows, which is reason enough to be there.

Kana: Tom Geddes

Weedeater Chomping at the Herbal Bit for DesertFest 2014

DesertFest is beyond pleased to announce Saturday night’s sub-headliners, North Carolina’s southern metal bad asses, Weedeater!

An uncompromising power-trio full of sludge, groove and straight-up metal, Weedeater’s aggressive, bone-crunching madness is quite a sight to behold on stage. Fronted by the manic, growling bassist, “Dixie” Dave Collins (also of Buzzov*en and Bongzilla fame), alongside fret-master Dave “Shep” Shepherd and former sticksman Keith “Keko” Kirkum, Weedeater introduced themselves to the world at large with 2001’s ‘…And Justice for Y’all’. What we got in that record was down-tuned, crashing ferocity; and boy did it feel good. The energy that pulsed through that LP was a jolt to the heart and a kick to the face and it’s a trend that followed right through 2002’s ‘Sixteen Tons’ and 2007’s ‘God Luck and Good Speed’ – the latter of which could find itself easily on many an album of the decade list.

Right around the time of the recording of the fourth LP, Weedeater shot themselves in the foot a little bit in the form of Dixie actually shooting himself in the foot. Gladly, a few months down the line – armed with one hell of an anecdote they gave us ‘Jason…The Dragon’, a slightly more experimental take on Weedeater. The brief appearance of banjo and organ appeared without the loss of any of their earthquaking noise to which we had become accustomed.

As clichéd as it might sound, whilst sublime on record, you just can’t capture the feel of Weedeater until you’ve seen them live; only when you’ve stared into Dixie’s “I’ve seen things” crazy eyes and been showered in the splintered remnants of drumsticks can you really get a grip on them. Must see is an understatement.

Sacred Rites: Tom Geddes

http://www.thedesertfest.com/london/
https://www.facebook.com/borisheavyrocks
https://www.facebook.com/weedmetal

Boris, Heavy Rocks (2002 & 2011)

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