Thursday, June 4, 2015



J.R. Robinson perceives life as a long, gradual process of decay. Lightness fades into darkness, while innocence succumbs to the evils of modern society. His music reflects not only this worldview but his emotional response to it. Then It All Came Down, his second long-form composition as Wrekmeister Harmonies, is an exploration of that existential deterioration and an attempt at attaining a deeper understanding of its process. Wrekmeister Harmonies’ pastoral doom has earned praise from Pitchfork, SPIN, Decibel, and Invisible Oranges as a new form of metal composition and performance involving a wide variety of instrumentation. Employing anenormous ensemble of some of Chicago’s best talents in the metal and experimental communities, including Sanford Parker (Corrections House, Twilight), Bruce Lamont (Yakuza), Ryley Walker, Chris Brokaw (Codeine, Come), members of Indian and Leviathan and more, Robinson has created a work that is equally gorgeous and menacing. Few artists have perfected the nuances of beauty as well as annihilation, and Robinson’s mastery of both sides of the spectrum makes his an unique voice in the field of doom. 

Then It All Came Down opens with a low, soft drone, creeping in almost imperceptibly. Bells chime as more tonal voices emerge from the ether, Walker’s acoustic guitar echoing in the abyssal soundscape. Several women sing as sirens: “Beautiful Sun.” The piece is inspired by and takes its name from an essay written by Truman Capote following his interview with Manson-associate Bobby Beausoleil (which translates as “beautiful sun”), whose dangerous spirit and embodiment of occult ideals offer an extreme example of the light into dark transition the piece explores. As the soft drones and angelic voices are replaced with threatening rumbles of distortion and low cackles courtesy of Wrest, an overwhelming sense of unease permeates the piece’s atmosphere, only a harbinger of what is to come. When the piece does explode into crushing howls and heavy doom, all semblance of tranquility and stillness, the light, the peace, is exterminated. 

Then It All Came Down was debuted at the Bohemian National Cemetery in Chicago under a full moon in July of 2013, the first in a continuing yearly series called Beyond The Gate. The series continued in 2014 with a debut of another new Wrekmeister composition which will be released in early 2015. Wrekmeister Harmonies will continue to bring large-scale productions involving a rotating cast guest musicians to unconventional performance spaces throughout 2014-15, and has a future collaboration planned with The Body. An essay by Robinson about Beausoleil’s influence on Charles Manson and his ideological lineage from Alastair Crowley is available for deeper insights into Robinson’s fascination with the controversial cult figure.

Seattle funeral/death doom duo BELL WITCH (comprised only of bass, drums, and vocals) made a massive impact in the doom metal scene with their debut album “Longing” (which followed their cult demo that had already generated buzz for the band) which was hailed as one of 2012’s best doom metal releases, even though it was released late in the year, in Nov of said year. With the momentum for the band carrying on, the duo would tour extensively (in North America and Europe) in support of “Longing”, continuing to build more awareness in the scene. 

Their anticipated new album, “Four Phantoms” (which was recorded and engineered by the legendary and respected Billy Anderson; Agalloch, Pallbearer, Leviathan, Neurosis, Red House Painters etc.) is BELL WITCH’s most crushing and most moving work yet. With a more honed focus on song structure and more intricate composition, all while taking their sound even further in the soul crushing heaviness realm, “Four Phantoms” (which once again features a guest lead vocal appearance by Aerial Ruin sole mastermind Erik Moggridge on the “Somniloquy” track) is a doom metal triumph for the ages, an album that will go down as one of doom metal’s most triumphant moments of the year with a milestone that no other band in the genre can parallel.

beardrock // imagine if Henry Rollins had joined The Melvins

9pm $10 21+


FUNGI GIRLS (Fort Worth, TX)
shit rock on HoZac Records + Gnar Tapes

LOS CRIPIS (Buenos Aires, Argentina)
Los Cripis started as a home project between Josi and Nicolás when they met in the summer of 2009 and began to spend every hot afternoon playing with 2 guitars (plugged into the same amplifier). It was so fun that they decided to start a band. That summer they put together their first songs and lyirics and thought about incorporating a drummer. Even though they couldn't find one, they decided to start recording all the same. There was a very small room at Nicolás’s and after taking what they had to it (a portaestudio, one computer, a microphone, an amp, guitars, a fan and a cassette player), they decided to name it "Momia Studio". In 2010 and 2011 they moved in together and recorded many songs, which reflect the spirit of the first rehearsals: simple, raw and fun. One day they went to a rehearsal space and recorded the sounds of a drum, which they then used to complete most of the songs, and so by the end of 2011 they had finished Our First Album and FAT (which despite the name came before OFA). Then they made the first copies on cassette and a website for downloading the albums with their past projects and friends. In this way Fariscal Records was born. One stage had finished and they really wanted to play live shows. This time they would find a drummer yes or yes. After a few weeks, they met Marta and from the first practice the three knew they had to keep playing together, so the search was over. And so a new phase of getting "out of the house" and playing live shows started. At the second concert they played in an old video store in Boedo and among the public was Bruno, an unknown fella at the time who invited them to play at the 1234 Shoreditch Festival in London, where he worked. From that point they started to build their 2012 European tour where they met new friends and recorded (in London) the songs that would be part of their third album out in early 2013. The sound of Los Cripis is simple and primitive, no pedals or effects, but full of saturation, melodies, freshness, d.i.y. spirit and color. First takes predominate in the recordings, perhaps reminding us of The Shaggss or Beat Happening.

everett post punkkin

Killer late-'70s, American sounding punk; raw and riffy without weighing too heavy on Chuck Berry, and their guitar sound is FLEEK as a mofo! - The Stranger

9pm $8 21+

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