Friday, August 29, 2014

Tonight in Music: Creepoid, Black Weirdos, Dispirit and the Entrance Band

Posted by on Fri, Aug 29, 2014 at 2:05 PM

CREEPOID'S MAGENTA-HUED SLUR-GAZE

(Barboza) Hypothesis: There can never be too many bands biting My Bloody Valentine’s Loveless. The louche, insanely distorted rock that MBV pioneered on that 1991 album deserves to be emulated and mutated by a multiplicity of musicians until the end of time. That’s how potent and life-enhancing it is. And Philadelphia quartet Creepoid emulate and mutate Loveless’s sexy, magenta-hued slur very well, indeed, especially on this year’s Wet. Even their song titles (“Blurry Slumber,” “Blinding Halo”) hint at MBV’s hypnagogic splendor. Don’t sleep. With Lacuna and Novel Nature. DAVE SEGAL
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THE BLACK WEIRDOS RUN A VICTORY LAP

(Chop Suey) We can’t seem to stop singing the praises of the relentlessly creative, restlessly forward-thinking Black Weirdo crew in these pages, and with good reason. Lese Majesty, Shabazz Palaces’ latest opus, is a shimmering, humid mirage of an album, all astral flows and avant-garde beat science; meanwhile, the ladies of jazzy avant-rap crew THEESatisfaction are showing mad potential with their recent projects both together and apart. Tonight represents something of a victory lap for the Black Weirdos, with DJ sets from both Palaces and THEESatisfaction, as well as Chocolate Chuck, Mursi Layne and the reverend himself, DJ Riz. Get weird(o). KYLE FLECK
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DISPIRIT'S DARK, POWERFUL DOOM

(Highline) Black metal is one of the few genres in which bands aren’t expected to play live—partly because of logistical reasons (one-man projects aren’t uncommon) and partly because of the insular nature of the music itself—which John Gossard of Dispirit credits to “elitist dickheads.” On that last note, the Bay Area band rejects such snobbish notions of the genre. Formed as an experimental improvisational project following the dissolution of Gossard’s progressive black-metal outlet, Weakling, Dispirit similarly try to transcend cookie-cutterness, incorporating elements of doom, death rock, noise, crust, and neo-folk into their dissonant squalls of guitar, funereal moods, thunderous drumming, and ghastly vocals. At base, said Gossard, it’s about creating something “dark, powerful, and honest.” With Old Skin and Dead Winds. KATHLEEN RICHARDS
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THE ENTRANCE BAND'S SNAKY SENSUAL PSYCH

(Vera Project) If you make your rock music big and dramatic enough, it often can’t help sounding psychedelic. That’s the modus operandi of the Entrance Band, who consist of guitarist/vocalist Guy Blakeslee, bassist Paz Lenchantin, and drummer Derek James. Their 2009 self-titled album on Ecstatic Peace! came off like a blend of Irish salvation rockers Waterboys and florid San Francisco psychedelicists Quicksilver Messenger Service. On their 2013 album, Face the Sun, the Entrance Band mute the grandiosity a bit, but the songs still move with a snaky sensuality and, at their best, cruise toward the vanishing point with glassily distorted guitar and motorik rhythms, as epitomized by the phenomenal “Fine Flow.” Low Hums’ glintingly melodic, sundown-in-the-desert psychedelia should warm up the crowd righteously before the Entrance Band take it on an epic journey. DAVE SEGAL
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And here's all our recommended music events—tonight, tomorrow, and beyond!

 

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