When the cold Ottawa winds start nipping around this time of year, there’s no better way to escape frozen realities of the north than going to a loud and sweaty show. That was certainly the case on Friday night, but the weather didn’t prevent people from coming out in droves to check out a special show at The Brass Monkey on Ottawa’s west side. Hailing from Brampton, The Flatliners headlined the night and played their groundbreaking 2007 album The Great Awake front-to-back. They were joined by A Wilhelm Scream (AWS) from New Bedford, MA, who also played their album Career Suicide from start to finish, never missing a beat. Both acts were preceded by London, ON’s Single Mothers and Little Junior.
After a lengthy trip from downtown to The Brass Monkey, I made my way into the venue for the first time to the sweet, sweet sound of Single Mothers exploding on stage. Approaching the place, I was surprised to find it located beneath a strip mall. Not exactly what you’d expect, but The Brass Monkey extended the whole way along and was packed to the brim with folks from all over Ottawa. It was pretty impressive to see that many people come together at this out-of-the-way venue for a show like this, but the sound there is known to be one of the best in town and that counts for something.
Single Mothers has been picking up steam since their debut LP Negative Qualities was released into the world in 2014, and gained notoriety for their brash and untethered live performances. This one was certainly no exception, as the band cranked up the energy immediately. The crowd wasn’t quite ready to warm up and get moving yet, but got there by the end of their set. Single Mothers released their second album, Our Pleasure, earlier this year and played a combination of tracks from both of their full length records.
Lead vocalist Drew Thompson channeled the full force of his band with his trenchant vocals in tracks such as “Half-Lit” and “Overdose,” seemingly ripping up his vocal cords with throaty and guttural delivery. But Thompson never relented, as he and the band kept the crowd locked-in with untamed stage antics and infectious punk rock. The group bucked any critics by playing a dynamic set which featured newer tracks such as “Leash” and “Long Distance,” offering us a glimpse into a side of the band that is more than the blunt-force trauma of distortion, but also layered with melodic elements and lyrical prowess.
I wasn’t that familiar with AWS going into this show, as melodic hardcore isn’t really my thing. But I gave their 2007 album Career Suicide a solid listen ahead of the show and was genuinely impressed by the sheer magnitude of the band’s sound. Although it’s not the kind of album I’ll put on every day, I appreciate how well it is composed from start to finish and looked forward to how it would translate live. I should also say that I appreciate that they named their band after a hilarious sounding stock sound effect, a recognizable scream which we’ve all heard in movies before.
AWS exploded into their set with a trio of fast-paced heavy hitters in “I Wipe My Ass With Showbiz,” “5 to 9,” and “The Horse.” Right away the crowd lovingly started belting out each line, word for word, as lead singer Nuno Pereira egged each audience member on with his interactive stage presence. His jugular seemed to protrude more and more with each song, and his liveliness was reciprocated by some of the die-hard fans up front. The onslaught that is Career Suicide continued, and the 15-song tour-de-force was fully realized in this live setting. The band’s tightness is undeniable, as each member seamlessly plays off the others without missing a single beat. Pereira took pause to tell a quick story in the middle of the set:
“It’s hard to believe it’s been 10 years! We got a message from the guys in Flatliners on MySpace asking if we could join them for their record release shows. We said ‘fuck yeah’ and had a great time doing it.”
The only thing that detracted from the music for me was extended guitar solos throughout, as I’m not a big “solo” guy. This detraction is merely preference, and certainly had nothing to do with the skill of the band members. AWS’ tendency to blend old-school So-Cal punk rock with metal and even prog-rock is a bit of a stretch at times for my liking, as the sprawl across styles can be distracting. But there is a definite primal feel to their music, an intensity and attitude that are distinctive and comparable to bands like Propaghandi. The near-perfect live execution of the complex song structures on this record are worth seeing, even for a layman like me who might not be as familiar with AWS’ catalogue.
The headliners of the night, The Flatliners, took the stage last and performed their much-loved 2007 sophomore album, The Great Awake. The band were Canada’s ska and punk rock darlings of the 2000’s, getting noticed by Fat Mike of NOFX’s label Fat Wreck Chords and getting the opportunity to play with well-known bands associated with the label at a young age. My first experience seeing them was in Detroit in 2008, opening for NOFX and No Use For a Name just after the release of The Great Awake, and I have fond (sweaty and bloody) memories of that show. Needless to say, a lot of us at the show were really amped to see the album played live front-to-back.
Right out the gate, the punching percussion of “July! August! Reno!” thundered from the stage and the raucous crowd burst into moshing as expected. “What do you do when doing what you love gets you nowhere? It gets you nothing. These loaded guns are nothing until they’re fired,” is a sentiment most of us endure at some point in our lives, and a powerful beginning to their set. Immediately after, the band transitioned right into my personal favourite, “Eulogy.” The song is a young person’s account of the death of someone close, a friend or family member, perhaps for the first time. This one hits hard for those of use who listened to it in the wake of tragedy.
The set went forward full-speed, and those who love the ska beginnings of The Flatliners got down to “The Respirator” and “Mastering the World’s Smallest Violin” but the band’s turn towards punk rock on this record was as well received in 2017 as it was in 2007. Chris Cresswell’s in-your-face vocals were absolutely mind-boggling throughout, which is a mystery to me since he’s abused his vocal cords for so many years. This album in particular is not a walk in the park, by any stretch.
The band ripped through their set, sweating up a storm and playing highlights such as “Mother Theresa Chokeslams the World,” This is Giving Up,” and “Hal Johnson Smokes Cigarettes.” Scott Brigham backup vocals and guitar riffs enveloped the crowd and kept the energy high until the very end.
The love for the record was felt through everyone that night, and I’m sure many of us had lost our voices by the end of the night. Overall it was a big treat to see all these bands play together, and have a hell of a party out in the suburbs of Ottawa.
Remaining shows on tour for The Flatliners
12/09 Montreal, QC – Club Soda ^
12/14 Long Beach, CA – Alex’s Bar ^
12/15 Phoenix, AZ – Marquee Theatre %
12/16 Las Vegas, NV – Brooklyn Bowl %
01/12 Chicago, IL – Cobra Lounge
01/13 Pontiac, MI – The Crofoot Ballroom #
^ with A Wilhelm Scream
% with Descendents
# with Twin Peaks, PUP
In 2007, a passion for music and dedication to female empowerment spurred the creation of Ottawa Rock Camp for Girls—a weekend of music instruction for teens and young adults. Ten years later, Girls+ Rock Ottawa is a multi-faceted organization with programs for girls, women, and non-binary youth to learn and experience music in a welcoming space. This November, Girls+ held their eleventh rock camp, showcasing tremendous growth and confidence in Ottawa’s women+ music community at the newly-renovated National Arts Centre.
Despite its recent success, Girls+ Rock is still a small, non-profit organization ran completely by local volunteers. Bianca Oran, a member of the organization’s Board, is a non-profit professional with a passion for music and development. She left a career in the music industry to work on sponsorships for the Ottawa Mission, and joined Girls+ a year ago to assist with on partnerships and communication. “It married my love of music with my day job and what I was already doing,” she says. “Music has been a huge part of my life for most of my life. I thought this would be a really good organization to get involved with in any way.”
“Since I’ve been there, it’s evolved a bit,” she says. This spring, the organization changed its name from Ottawa Rock Camp for Girls to Girls+ Rock Ottawa. “That’s because we’re more than just a once a year camp,” she explains. “We do workshops throughout the year, we have a drop-in jam space where alumni can come and practice. We provide that access space for them.” In addition to their new programming, the organization expanded to an older audience, hosting its first Rock Camp for Women+ this summer. The inaugural project was a huge success, proving a desire for welcoming music programs and communities in the city.
In the past year, Girls+ has also received an influx of funding, allowing the organization to pursue its new projects. They recently received just under $24, 000 granted from TD. “For a little organization like ours, to have that support is huge,” says Oran. The funding allowed them to purchase brand new instruments for their camps and jam sessions, providing for new and returning artists. “We purchased a lot of the instruments from local music shops,” says Oran, “so we put the money back into the community.”
The recent funding has been continued with the help of The J.S. Belleau Fund, which was established this summer. The fund was created after the passing of Jean-Sebastien Belleau, a young Ottawa local and active participant and friend of the city’s music community. “We were honoured and moved when J.S.’ family listed Girls+ Rock Ottawa as the recipient of all proceeds in his name,” says Tiffanie Tri, Chairperson and co-organizer of the camp. “We created the fund because we wanted to have a way to distinguish the funds that were donated in his memory. As in, have a way to track it and monitor its impact.”
Additional funds were also raised this summer at the I Love You J.S. Fest (ILYJS), a community festival and fundraiser hosted by Ottawa Showbox. Since his passing in March 2017, over $2,700 has been raised in J.S.’ name, and donations continue to roll in.
Girls+ has used the donations towards the the maintenance and upkeep of their new and growing inventory of musical instruments, “in order to sustain these investments, and to ensure that we can keep providing high quality instruments to anyone who wants to partake in our programming,” says Tri.
The new instruments were used this past month at the Girls+ Rock Camp, but the organization has more and much larger plans to use their new investments. Their main goal is to create a local music library for young musicians to borrow and rent instruments, following their mandate of providing access and resources to music in Ottawa.
In addition to their increasing funding and expanding projects, the organization has established partnerships with a variety of local businesses. Girls+ recently launched their own collection of merch, selling out of their first run at Victoire Boutique in Westboro West and online. The organization chose Victoire for its independent, local impact and dedication to ethical fashion. The new line (which includes t-shirts, sweatshirts and totes with handmade designs by local artists) marks a new beginning for Girls+, with a tangible showcase of identity, community and impact.
Girls+ is a unique non-profit made of young musicians, professionals, artists, and local supporters. The organization’s last year is proof of this, with its exponential growth and evolving identity. “We’re a community based organization that uses music to empower girls,” says Oran. “We have this flagship event, the camp, but we also want to create new partnerships in the community. We want to make sure were being as inclusive and diverse as possible.”
In the future, she hopes for a continuation of funding and community support. “How great would it be if we could take on more than 30 campers per year? Or if we could pay our volunteer teachers? We just don’t have the capacity or funding yet.”
Specifically, Oran is passionate about creating space and resources for women and girls interested in music. “It’d be great to have more support from the community, more spaces for alumni to host all-ages shows,” she says. Sustainability is important to Girls+, which inspired their jam sessions and women’s rock camp, so alumni can return to further improve their skills. Many have done so, with a handful of former students returning annually as teachers.
Ottawa is not an easy place to thrive as a young artist, especially as a young woman. Girls+ Rock’s mandate—to empower young girls and women through music—is evidently thriving and working to break down barriers for gender minorities. At November’s camp showcase, campers exuded a shared confidence and skill, nurtured through the program’s dedication to community. The programs offer an affordable, safe and inviting space for youth to pursue their passion.
From a $24,000 grant to community fundraising to multiple new programs, it’s been a massive year for Girls+ Rock Ottawa. Now, with secured funding and growing local partnerships, there’s no limit to the impact these young girls, women and local leaders can have in Ottawa’s music community.
It’s been almost two years since violinist-extraordinaire Mika Posen released her debut solo record under the new moniker Merganzer. Before that, she had studied violin with the National Arts Centre Orchestra’s David Thies-Thompson and gone on to tour with renowned acts such as Timber Timbre, as well as contribute her violin skills to the works of Forest City Lovers, Feist, Basia Bulat and Evening Hymns. Having grown up in Ottawa, Posen left the capital at 18 and lived in cities such as Toronto and Berlin until her return to her hometown after more than a decade.
These experiences, along with a Master’s degree in ethnomusicology from York, have provided Posen with disparate experiences from which to draw influences for her solo project. Merganzer is undoubtedly an extension of Posen, and the music we’ve heard so far—particularly off of the 2015 debut LP Mirror Maze—is eccentric, contemplative, and exploratory. The soundscapes are varied, as the listener is pulled between layers of mesmerizing beats, beautiful vocal melodies, enchanting string arrangements—like soaring gracefully through cavernous depths and over towering mountain peaks.
Merganzer has put out a new video of an unreleased track called “Cloud Cover,” which is exciting for those of us who have been chomping at the bit for more. It comes just in time for her upcoming performance December 1st at Mirror Mountain Film Festival (co-presented by Ottawa Showbox) along with Montreal media artist Sonya Stefan. The event is called Passé Composé, and will be a collaborative live performance based on the theme of transformation.
“The video was directed by Nick Dolinski (who lived in Ottawa up until a year or two ago) and shot by Ottawa media artist Tim Smith,” explains Posen. “We made it this past July on the roof of our Toronto apartment building right before we moved back to Ottawa. For Tim and I, it represents a final farewell to that big crazy city.”
We’re excited to present the first look at Nightshades‘ new video for “Double Vision,” which appears on the recent self-titled album released on November 15th.
The album is somewhat of a departure from their previous EPs, slowing things down and simplifying the song structures while maintaining the sludgy and gritty elements that many of us know and love. While the tempo has slowed a bit, lead vocalist and guitarist Mallory Giles chose to hone her songwriting skills and focus on lyrics and melody over speed and complexity of instrumentation.
“After the ‘Wendy EP’ we wanted to take some time to write a full record. Things came together pretty slow,” she explains. “I had a huge writers block last winter and it was scary. I thought ‘well that’s it. I guess that’s over’.”
“I was grabbing at straws, trying to find inspiration and I ended up borrowing a bass off a friend. I started fiddling around with it and it became this cool new way of looking at music. I wrote a few of the songs off this new album on that bass and transferred it to guitar. Just playing with power chords and slowing things down, developing less complicated structures. Just taking it easy, and focusing on melody and story.”
“I think that’s kind of where we were all at. Just growing up, and chilling things out. And once Dean joined the band, his style of bass playing was pretty relaxed, and we were into it. We still have some heavy songs that Geoff wrote, and I don’t think we’ll ever not be a heavier band, but things are less rushed now. I think I was kind of hiding behind speed before because I wasn’t very good at my instrument. Playing really super fast felt easier and less scary. Now that I’ve developed as a guitarist, and we’ve grown tighter as a band, we can take a step back and just like..go slower. It’s funny, cause we’re still pretty fast, just not as insane as we used to be.
Nightshades channel the fuzzy sounds of 90’s alternative bands such as The Breeders and Sonic Youth, bringing with them punchy and distorted tracks that draw listeners in. Any fans of Kim Deal-era Pixies will surely fall effortlessly into Nightshades as their new self-titled album maintains a fun and upbeat aesthetic throughout, and doesn’t take itself too seriously. However, the songs seem more carefully crafted and it’s obvious that the band took time to put this one together.
Another thing that doesn’t take itself to seriously is the video for “Double Vision.” Directed by filmmaker Rob Bennett, the concept sees Giles going on some terrible first dates which take psychedelic turns.
“On those dates I would see like figments of my imagination like masked unicorns and masked characters and they would try trip me out while I was out with these guys,” Giles says. “IOn the day of the shoot, we were sticking to the plan, but we ended up having fun and trying different shots of us dancing and stuff, and me lip synching… It turned into this whole other thing that we all found really fun, funny, and great. It feels like a real rock n’ roll music video now. Not too serious. Not too much sense made. The original concept was actually pretty dark. I think it’d be cool to write a play or a short out of it one day.”
“Working with Rob was easy. He had killer gear, was a total pro, and had some really great on-the-fly ideas too. Rob is a musical mastermind in his own right and knows a ton about rock n’ roll. So making a rock video with him was effortless.”
Nightshades are set to released their new album on cassette this Saturday at The Rainbow, along with Montreal art punks Smokes, Ottawa heavy-hitters Bonnie Doon, and up-and-comers Slow Dawn. Tickets are $7 and doors at 9 pm, 19+ only. Check out the new video for “Double Vision” below, and stream to the new album online here.
Mirror Mountain Film Festival is taking place December 1-3 at Arts Court and brings the best in independent and alternative cinema to Canada’s capital. Mirror Mountain is an inclusive festival that welcomes all types of films and all types of people to share in the collective cinema experience. In addition to film screenings, the festival features live performances, parties, panel discussions, Q&A sessions and more.
Showbox will be co-presenting two events throughout the festival, which you can read more about below. Tickets $5 / Passes $20 are available for pre-order here. Check out the full festival schedule on the Mirror Mountain website. Find out more below.
We’re giving you the chance to experience something new and exciting at Mirror Mountain, and one lucky winner will get two passes. Simply fill out the contest form below. The draw will happen on Wednesday, November 29th at noon. The winner will be contacted via the email address provided. Good luck!
Ottawa musicians Merganzer and Montreal media artist Sonya Stefan present Passé Composé, a collaborative live performance based on the theme of transformation.
Stefan creates dynamic live images from a combination of damaged film footage and video feedback. Performing with disintegrating equipment of all kinds, from broken video mixers, to scratched and worn celluloid film strips, to glitched television screens, Stefan transforms, manipulates and overlaps projections in real time, creating a truly unforgettable experience. She will be joined for part of the performance by fellow Montreal media artist Emma Roufs.
Merganzeris the project of violinist Mika Posen, combining instrumental soundscapes, ambient textures and melodic interludes. Posen’s expressive compositions take the listener on a dream-like sonic journey. She will be accompanied on stage by percussionist Pascal Delaquis (Little Scream, Claude Munson). They will be using electronic effects to transform the violin and drums into a unique palette of polyphonic sounds inspired by Stefan’s images.
Join for a party in our festival lounge featuring a special set by Ottawa dream-pop quartet Sparklesaurus. Their sound pairs the emotional rawness of garage rock with the lush glitter-infused tonalities of glam, set in a landscape of scaling synths, swirling guitar tones, colourful harmonies, and a stoney rhythm section. Its members are Felicity DeCarle, Colleen Jones, Shamisa Schroeder and Brad Lapensee.
House of TARG, a timeless venue that brings all sorts of people together through pinball, perogies, and concerts, held one deafeningly loud and soulful show on the night of November 9th. The lineup held a promise that the show would be one that the audience wouldn’t forget, unless they were drunk off their asses—and it delivered.
Opening with a roar was Black Oak Decline and they didn’t fail to capture the attention of the crowd and drive a new energy that I hadn’t seen in the atmosphere before. With precise and quick scales and solo work for the guitar. It’s quick and hard to follow but if you just let yourself listen, you get swept up in the emotions the music drives. It’s numbingly loud and sure to leave your ears ringing for the next two and a half days, which is something I can vouch for.
The bass is sludgy and grimy. There is nothing, absolutely nothing clean about the sound of this band. The bass is played almost like a guitar in the sense that there’s a lot of scales and jumping around within the basslines. But it’s deep, you can feel it rumble in your chest, and shake the floor. It over-driven and powerful and holds structure all while being the least structured seeming part.
The drums embody heaviness to them and they’re cold and distant. They resonate with you the longer you listen to them. While they do follow the rhythm, they also tend to veer off and create a unique space for themselves, straying from the conventional path. The make the songs sound full and create an atmosphere to get lost in. There are moments where it seems that the drums lead because of their sheer force.
The vocals are ragged, almost torn, they’re strained to the max but in such a way that it’s not unpleasant to listen to. They leave you in awe. I don’t typically enjoy intense screaming of lyrics throughout songs entireties but this band has showcased how to properly execute it without being overbearing and without overwhelming the audience. Whether it’s the stylings of the screaming itself or how it blends into the rest of the music, I can’t say. All I can say is that raw emotion is thrust into every single note played and sung. It’s something the band clearly enjoys doing and their presence is well known once they step on stage. It’s not overwhelming or in your face, but the band isn’t afraid to get up in it.
The second act was Pyrrhon who blew the crowd out of the water. The sheer energy presented found a way to take over the room completely. They find a way to take death metal and turn it into an artwork that entrances you and leaves you wanting more after they’ve finished up their set. The movement across the stage, seeming minimal on House of TARG’s stage, was very forward and the body language emits intense emotion.
The drumming is aggressive, almost confrontational. It leaves you in absolute awe and lets you feel the intense emotion that may course through the band. It’s almost in disorder and sounds rather distressed but it’s certainly not at a tempo that just everyone can keep up with. Perfect for head banging, the beat slows down and speeds up, keeping it interesting and allowing those listening to really get a feeling for the bands style. The beats come off in quick succession one after another most time and it’s common to hear rolls on the snare drum.
Dylan’s guitar playing is dissonant and angry. The distorted and overdriven sound was a staple for this band. With controlled feedback to add to the messy sound, it really grabbed your attention and ripped you right out of any preconceived notions on what the band would sound like live. With heavy power chords and added tremolo it brought the guitar parts to life and almost embodied them as something otherworldly. It breaks order and creates a balanced chaos with the drums and vocals.
Doug the vocalist pours every ounce of his being into what he’s screaming and it shows. With the way he moves around to how he controls his screaming, it fall absolutely nothing short of impressive. High and low notes interlace and destroy every preconceived notion of what harmonies should be. His vocals are not meant for the background, they deserve the fullest and uttermost attention due to the sheer heavy and weighted vibe it gives off.
The bass is a distorted, disorganised mess that somehow ends up being unified with everything else. It’s assertive and demanding but doesn’t let down in the least. This component, tied in with the drums are what rattle the core and entrance you, leaving you wanting to hear more. The scales played are not simple but they’re played with such an air that it’s made to look almost effortless.
Next up was a band by the name of Yautja who originate from Nashville, Tennessee. Their sound dissonant in terms of instruments however when it comes to vocals, prepare to be swayed by the cloudy heaviness that they possess.
The guitar providing intensive and strong power chords that are part of a masterpiece of its own. No sound goes without purpose. Pushing boundaries with the much lighter contrast that the guitar provides to the vocals while maintaining a heavy presence impressed me to no end and will continue to beckon attention. It keeps you on your toes and doesn’t let the stressed feeling go all while holding its own unconventional structure. The guitar vibes with a whole different frequency and it sticks out.
The vocals take a drastically different turn. Deep, in your face, and raspy. The lead singers aren’t afraid to strain any vocal cords, or to scream their hearts out to the crowd that’s more than willing to listen to the beautifully constructed chaos. The songs are held together, it seems, by a thread. In this case it would be the vocals, placed in just the right places. Any sense of convention is otherwise completely obliterated.
Tremolo effects rang through the bassline without hinting at any ounce of mercy. It hits you in the face forcefully without even laying a finger on you. A strong prominent bassline is a good bassline to me, and even better the sloppier and more pronounced it is. It’s nothing short of impressive and captivating. It’s hard to follow so you just let yourself embrace it and listen. It rattled the floor, and there wasn’t part of me that could deny it. I wholeheartedly believed that being so close to the bassist along with amps and speakers would give me arrhythmia. The bass folds into each song, crashing into the guitars like a wave during a brutal storm.
The literal crashing is brought by the drums and creates the effect of everything nearly falling apart. It’s everything that you want to hear from the drums when immersing yourself in metal. Heavy hits falling onto the snares and toms, relentless crashing of the cymbals, and pure energy radiating off the drummer, it’s hard to ignore. While the drums intertwining with the guitar and bass parts makes the whole thing sound as if it’s imploding on itself, it holds it’s backbone and creates something the bassline can lean on without overpowering it.
Inspiration ripped from Black Sabbath, Judas Priest, and Iron Maiden, Montreal’s own The Great Sabatini took the stage and created a loud and fitting end to the high energy night. They incorporate different genres and roll it into what can only be described as a sludgy doom metal. With aspects of what’s considered a musical canon and heavier gauge strings for the guitars and bass, energetic, aggressive but warm drumming, and the riotous screaming, the members create a sound that while containing sporadic elements, is so solidly unified that it’s impossible not to listen to.
The guitar parts which are played by Rob and Sean challenge and push boundaries, and with their new material, which is yet to be released, you hear the distinct tones overlapping in a confusion of sound that one tries to make sense of. It pushes your ear and begs you to deconstruct it because it’s so masterfully done. The soloing that Rob brings forth is some of the work I admire most. It’s skillful, distraught and slurred together, full of life and soulful aggression. Keeping up with him is a task but he puts every ounce of his being into it. He pours his heart into it and you can tell that with every note he plays is his pride and joy.
People always say that there’s a sparkle in someone’s eye when they’re doing something they love, and that passion was definitely behind Rob’s eyes.
Sean pours his soul into his screams and he gives it his all. It doesn’t go unnoticed, and besides his riffs and enraged power chords, this is what gets the crowd going. He jumps right to it—cut the bullshit, this is what it’s about. The progression of the higher notes keeps the crowd on their toes and the contrast provided by Rob brings them back down. Personally, and this comes as a great shock believe me, I would pick seeing The Great Sabatini over Metallica in a heartbeat. It’s progressive, gritty, and grimy.
The drumming Steve provides is one that that leaves you with very high expectations for other drummers. He’s outstanding with incredible control over the sound he wishes to produce. Sometimes warm, other times cold, loud or toned down, he has total control. His drumming has character, almost alive in its own way and everything you thought you knew be damned. It was deafening and powerful, enforcing the message behind every song. It will not only blow your mind but also your eardrums. It’s just the right amount of hysterical and yet its incomparable to any other drummer I’ve seen or heard.
Joey might as well have bumped the bass up to an 11 because it’s dominating and rips your attention towards it whether it’s isolated or incorporated into the self-imploding sludge. The fact that it’s frenzied in most songs is what sets the tone and it truly adds depth to the performance. Beautifully channeled and timed, the bassline could do no wrong. It pushed and it pulled creating an individual soundscape that would be thoughtfully incorporated into the overall experience the band created as a whole.
If you asked me to come see a legendary band with you on a night where the four bands I spoke of were performing, I’d have to object. Shocked? So am I but they fall absolutely nothing short of talented and driven with a sound that will leave your ears ringing for days to come. They’re all deeply underappreciated bands that created vivid soundscapes that you’ll find yourself immersed in once you give them a listen.
When you see the familiar name on a concert poster stapled or taped to a street sign, take note when and where these bands are performing because I guarantee that you’re not going to regret it in the least bit. Your ears might object to it the next morning (and in the long run), but in the moment you’ll be wanting to hear more. There will always be Bandcamp, but trust me, no justice will be done to these wonderful bands. Their shows are a must.