I’ve spent a lot of time and put plenty of thought into trying to explain to friends and fellow music fanatics what the Japanese trio Boris is all about. They are capable of being one of the heaviest, loudest rock bands on the planet, infusing their brand of droney metal with blues rock and hardcore punk influences, but can conversely turn around to create tiny psychedelic portals, shoegazey headtrips, and bolstering experimental compositions. Therein lies the wonderment and greatness of the Tokyo-based trio of drummer Atsuo Mizuno, guitarist Wata, and guitarist/bassist/vocalist Takeshi. For over 15 years, Boris has been at it, following their own path, challenging conventions, and building a global cult. Boris’ modus operandi for boundless experimentation and creating their own mini-empire has been to steadily issue a stream of full-lengths, EPs, and singles—often collaborating with like-minded Japanese noise maestro Merzbow as well as guitarist Michio Kurihara and doom merchants SunnO)))—on a slew of different labels like Diwphalanx, Inoxia, Southern Lord, Hydra Head, and their own Fangs Anal Satan imprint, controlling every aspect of their releases right down to the artwork. The band’s cult saw wider growth in 2006 when they issued Pink (Southern Lord), a flawless stylistic paste-up of seething metal, abrasive hardcore, garagey punk, warm psychedelia, and avant guitar drone. In 2008, Boris unleashed Smile (Diwphalanx/Southern Lord) in dual Japanese and US versions, each with essentially the same tracks but rendered in uniquely different ways and running order. Smile is another dynamic record (or two) from a band that never seems to slow down…unless it’s to drone out for a few minutes. So, after I get through explaining the brilliance of Boris to friends and colleagues, I end it with, “…but you really have to see them live.” Finally the chance for many of them comes: Boris, in their power trio purity, finally bring their unmatched live set to Buffalo, with support from Torche and Wolves in the Throne Room. Miss it and miss out.

Inspired by AV’s own “Food Fight” article about the severe famine plaguing Haiti (by Michael Niman, Artvoice v7n19), local artist Sabine Van Wyck has organized a benefit concert to help spread awareness and raise funds for the cause. “For most Haitians, feeding their families has become an issue of daily survival,” proclaims a flyer for the event, and Van Wyck’s newfound awareness of the pressing problem was confirmed by first-hand information from a friend in Haiti, who told her that things really are as bad as she had learned, and that any funds she could raise would be a great help. She says that as she learned more about it, “it became glaringly obvious to me how involved and responsible we all are when it comes to survival in third world countries,” a problem she finds “profoundly disturbing.” The fundraiser features danceable jazz from Emile Latimer and Friends and Equinox, as well as a community drum circle (be sure to bring your instruments). A minimum donation of $10 is requested, and the event is free for children age 12 and under.

Is your family itching to see the new Batman movie? I don’t blame them. (I’m not supposed to tell you this, but I’ve seen it, and it’s awesome.) The Dark Knight won’t be in theaters until July 18, but you can get a head start when two of the high-tech vehicles from the movie make a promotional stop in Niagara Falls this weekend. The newly designed “Bat-Pod” (pictured) is a sort of monster truck version of a motorcycle, useful for those tighter situations when the Batmobile just won’t do. Also on display will be the Tumbler, the 21st-century Batmobile that debuted in Batman Returns. The vehicles will be accompanied by technician Moses Paskowitz and will be on display this Sunday from 11:30am to 2:30pm on Goat Island at Niagara Falls State Park. Check it out, and if you see any studio executives there point out what a great location the Falls would make for the next Bat-movie.

Often likened to a punk Janis Joplin, singer Mia Zapata was by all accounts on the verge of stardom with her band the Gits when she was raped and murdered while walking home on a July night in 1993. Formed at Antioch College, the band relocated to Seattle in the years before that city’s music scene exploded, finding a place in the local community while distinguishing themselves musically from the grunge bands of the era. Although Zapata’s murderer seemed to leave no clues, the case was kept alive by fans and other members of the Seattle scene. Shortly after filmmaker Kerri O’Kane began working on her documentary about the band, DNA evidence led to the arrest and conviction of the killer. But if The Gits Movie can be said to have a happy ending, it’s less in witnessing the wheels of justice than in seeing the lasting effect that Zapata had on admirers who keep her memory alive 15 years after her death. The Gits Movie will be shown on the giant screen at the historic Riviera Theatre, preceded by a performance by the Apologies and followed at 9:30pm with a performance by Prescription Happiness.