There are 400 miles to Chicago, we have half a can of beer, it’s spring, and we’re wearing all black. Let’s do this.
WHAT TO HEAR: First up this week is I Have Fought Against It, But I Can’t Any Longer (Thrill Jockey), the latest sonic thought experiment from The Body. A continuation of their “pop” epoch, I Can’t Any Longer juxtaposes the bad-trip Bat For Lashes vocal stylings of Lingua Ignota against Chip King and Lee Buford’s crumbling electronics for a sound that is decidedly neither pop nor the scathing electronic doom the band became known for. And therein lies my quibble. If you’re gonna call yourself a “pop” band because it’s a fun musical experiment, a great piece of PR, and a good ol’ fashioned middle finger to metal neckbeards everywhere, you kind of have to write pop songs, and pop songs include verses, choruses, and something at least resembling a hook. Yet, I Can’t Any Longer still turns its nose up at those conventions. On its own, it’s a fascinating piece of avant garde music, but as a realization of what The Body keep saying they are, it comes up a bit short. Check it out via bandcamp…if I didn’t just talk you out of it.
Meanwhile, NY death metal horde Skinless have prepped the perfect antidote to The Body’s art-haus freakout with their latest sensory beatdown-cum-LP, Savagery (Relapse). Designed to be heard live—or at least at maximum legal volume—Savagery is one bludgeoning groove and brutal breakdown after the next, stomping and swarming its way through 37 shameless minutes of neck-snapping simplicity. Just don’t expect much in the way of fancy shmancy innovation. There’s no wheel left here to reinvent. Skinless ripped it off the car with their teeth and burned it for heat, because this is 2018 and dystopia isn’t coming, it’s here. Spin this soundtrack to the apocalypse via bandcamp.
As a nice bookend to The Body’s experimental insanity is Reverorum ib Malacht’s Im Ra Distare Summum Soveris Seris Vas Innoble (AnnapurnA), a creepy, crawly, largely electronic descent into the darkest reaches of the Roman Catholic faith. That one is charred beyond recognition, but you can check out the dental records via Invisible Oranges. After that, make sure to spend some time with Fractal Gates’ The Light That Shines (Rain Without End Records), an awesomely anthemic slab of melodic space death from Ningizzia’s Stephane Peudupin. If you like your pits stargazing and your pedalboards packed, this one is definitely for you.
Finally, wrapping what is, admittedly, a bit of a slow release week, is a new two-song split from hooded thrash maniacs Ghoul and Ill Bill (Tankcrimes), as well CHRCH’s sophomore full-length, Light Will Consume Us All (Neurot Recordings), a slow-burning doom opus that I wrote up a few weeks back when I thought it was coming out for some stupid ass reason. Sorry, folks.
WHAT TO SEE: We jump right into the weekend show deep end tonight with Gigan/Pyrrhon at Gold Sounds, Them Evils at Saint Vitus, Hoods at Blackthorn 51, Xentrifuge at Dingbatz, Nine Layers Deep at Lucky Saloon 13, Texas Hippie Coalition at The Kingsland, Mike Peters and The Alarm at Gramercy Theatre, GutterLIFE at Revolution, and the almighty Melvins at The Warsaw. Saturday picks things right up with Fu Manchu at Bowery Ballroom, Dead Eyes Always Dreaming at Lucky 13 Saloon, The Dwarves at The Kingsland, Hub City Stompers at El Cortez, We Were Sharks at Gold Sounds, and snapcase at Brooklyn Bazaar (followed by a Minimal Industrial Noise dance partay), before Sunday cleans up with Emmure at Gramercy Theatre.
Monday kick starts the working week with Savage Master at Saint Vitus, while Tuesday rolls around Bullet For My Valentine (sigh), Trivium (slightly smaller sigh), and Toothgrinder (locals, so good for them) at the Wellmont Theatre. Wednesday will get ya Porno Graphic Messiah at Lucky 13 Saloon and Mad Diesel at Vitus, before Thursday punctuates proceedings with the Bullet Boys at Revolution Bar, Skeleton at Alphaville, Big Ups at Secret Project Robot, Bambara at Brooklyn Bazaar, and Bullet For My Valentine (yes, again) at Irving Plaza. God help us.
WHAT THE FUCK: The good news? Nine Inch Nails have a new EP and North American tour on the way. The bad news? Tickets for that tour are ONLY available at the box office, which, FYI Trent, is not exactly how the world operates anymore. I get that scalpers suck, but to be honest, I’d rather buy a scalped ticket online than line up outside of Radio City at 5am on Saturday morning. It’s a cost of time vs. actual cost equation, but I’ll happily trade $75 bucks for a couple extra hours of autonomy.