Friday, May 8, 2015

The Blood Brothers Creepy Crawl, July 17, 2004

The gig was sold out. Still, a line of fans snaked around Creepy Crawl into the parking lot like the Mississippi River. Outside strode a clearly rushed and irritated Creepy employee. “If you do not have tickets that you purchased online, I’m sorry, but this show is sold out!” Grumbles were heard en masse, the Internet was cursed, and people headed back to their cars. A sold-out summer show at the Creepy was upon us. I could tell that this was going to be an interesting night.

Following the Chromatics’ brief set of shoe-gazing dance punk, Kill Me Tomorrow took flight. Hailing from San Diego, percussionist Zack Wentz’s kit was an electrified get-up with a digital console that looked like a futuristic heart monitor. Accompanied by bassist K8 Wince and guitarist Dan Wise, KMT were a perfect match on this bill. Noisy no-wave, art-rock smoked out of the PA with all three members sharing vocal duties. Their set was by no means easy and their sound uncompromising, which came as no surprise from a band that’s signed to Gold Standard Laboratories: Where Convention is a Four-Letter Word.

When the Daughters took stage, the mercury had risen to a level that would make a high-school wrestler cutting weight giggle with glee. Applying the death metal theory of drumming, a double kicker ruled the entire set. So did screaming and songs that rarely exceeded a minute in length. The Daughters have clearly been raised on a large diet of the Locust. I can’t say that I’m going to rush out and buy their entire catalog, but I can’t stop myself from loving the very fact that they exist. This might not make a lick of sense, but unless you’ve tricked an unsuspecting friend into attending a Skin Graft Records fest or owned more than one Melt Banana record, you just wouldn’t get it. Art can be that way.

Mirages were popping up everywhere around Creepy when the Blood Brothers started playing. Playing a set that was largely a testing ground for their new LP Crimes (out October 5 on V2 Records), Brothers vocalists Jordan Blilie and Johnny Whitney shook, screamed, and flailed through the wall of heat that enveloped the crowd and the band. The new material they played showed no evidence that the Brothers are going to churn out a record that will soften their legacy in the slightest. Those up front went absolutely apeshit as the Brothers closed out their set with “Cecilia and the Silhouette Saloon” from Burn, Piano Island, Burn. Afterwards, as the crowd filed out of the under-21 section, faces and bodies drenched in sweat, they looked as if the night had been a marathon held in a sauna. No matter, for this was a sauna worth every penny. The Blood Brothers were magnificent.

No comments:

Post a Comment