Listings are in the opposite order of appearance: headliner is listed at the top, next is the support band(s), and the last band listed is the opener.
Friday December 1 2017
8:30PM doors -- music at 9:00PM ••• ALL AGES
punk noise rock
DJ Sasquatch Borracho
Chris Spencer (Guitar / Vocals)
Dave Curran (Bass / Vocals)
Vinnie Signorelli (Drums)
-from New York, NY
New York City's Unsane assisted in pioneering a more aggressive, less studied version of noise rock, one that blended the scum/art industrial sturm und drang of Foetus, the Swans, Einsturzende Neubauten, and Sonic Youth with a decidedly more straightforward hardcore idiom. While developing the blueprint for noise bands to follow, Unsane cut a remarkable swath through underground music, inspiring a devoted, cult-like following around the globe. As a power trio, Unsane relied upon a hammering, power-press rhythm section, a searing Telecaster howl, and distorted vocals that resembled a chainsaw cutting a steel beam.
Chris Spencer (vocals, guitar), Dave Curran (bass, vocals) and Vincent Signorelli (drums) are responsible for well over 2 decades of aural ruination, with no intention of letting up anytime soon. With a new full-length album in the bag, the band will be touring the globe starting summer 2017.
The early days of Unsane began in the late '80s. The original incarnation of the band -- Chris Spencer, Pete Shore (bass), and Charles Ondras (drums) -- crawled larvally out of the practice space in 1989 and began playing New York's seediest haunts. It was these graveyard slots at clubs like CBGB's where the band developed and honed their trademark sound and delivered the goods with due intensity and volume. Unsane piqued the interest of numerous small indie labels and began issuing a series of singles and EPs before recording their self-titled debut with Matador Records. Using the photo of a decapitated man lying across train tracks, Unsane's album cover set the tone for the admixture of seething aggression, naked fear, and barely controlled noise chaos contained within. But the band's devastating maelstrom contained more than enough tunefulness and rock propulsion to quite easily surpass its more affected Lower East Side peers.
During 1992, Unsane's daunting schedule was cut devastatingly short by the untimely drug overdose of drummer Charles Ondras. Former Swans and Foetus drummer Vinny Signorelli climbed aboard the swiftly moving train in the fall of 1992 and the band began composing its next album. In the interim, Matador compiled and issued a collection of Unsane's early singles and compilation tracks, appropriately titled Singles: 89-92. It is perhaps Unsane's defining moment. The following year found the band recording its first for Atlantic Records, Total Destruction, a menacing, dark collection of songs driven by Signorelli's hypnotic drumming and Spencer's man-pushed-to-the-edge vocals. More touring followed and Matador released the Peel Sessions disc almost concurrently with Total Destruction.
After being discharged from Atlantic in 1994, Unsane found both a new bass player in Dave Curran and a home for their next album, Scattered, Smothered, and Covered, on the independent noise rock label, Amphetamine Reptile Records. While
maintaining the band's signature sound and volume, 1995's Scattered... showed the band opening their rhythmic approach, with most songs inhabiting a more rock- oriented 4/4 pattern, granting the album a more spacious and controlled feel. Scattered... also contained the unlikely MTV hit video for "Scrape," featuring a series of skateboard accidents intercut with footage of the band performing live. Created for 270 dollars, it was ironically named one of MTV's Ten Funniest Videos.
The band toured relentlessly and managed to secure an opening slot with metal behemoths Slayer on one of their North American headlining tours. Shortly after, the trio made another label switch to Relapse Records and began constructing the ironically titled Occupational Hazard. While on a press tour in Europe only a month prior to the disc's release, Spencer was brutally attacked by street thugs and left for dead on the streets of Vienna, Austria. After emergency surgery, he returned to the touring arena. They then released the compilation "Lambhouse", continued to tour and wrote the ballistic urban commentary "Blood Run". After more touring, and some introspection, they proceeded to issue "Visqueen" on Mike Patton's Ipecac label. March 20th 2012 sees the band's 7th full length 'Wreck' out on Alternative Tentacles Records.
The new album will be out Summer 2017, with touring to follow.
-from Philadelphia, PA
-Founded by three veterans of Philly's punk and hardcore scenes, whose current and recent bands include Creepoid, Fight Amp, and Ecstatic Vision, Plaque Marks pound out the rawest, most caustic music any of these musicians has ever made. The band is the self-proclaimed "stain on the smile of the Philadelphia music scene."
In Plaque Marks, these guys have abandoned all semblance of "finely tuned," "sun-baked," and "melodic," in favor of pure abrasion and bad living. Caveman drumming, tooth-rattling bass, painfully distorted guitars, and buried yells are the elements at play here, and on debut EP Anxiety Driven Nervous Worship they sound like they were recorded with one lone mic, hanging from a noose in a Philly warehouse.
Plaque Marks credit Texas legends Rusted Shut and Cherubs for inspiration, as well as the early works of contemporaries Pissed Jeans – and while some of the members' other work, particularly Fight Amp, resides in this ballpark too, Plaque Marks take it to new depths. This is noise-rock in its simplest and most corrosive state, and Anxiety Driven Nervous Worship is right at home on Minneapolis label Learning Curve Records, responsible for releases by Vaz, Hammerhead, and Gay Witch Abortion.
Rob Fletcher sings
Chris Owen plays guitar
John Laux plays bass
Brandan Leonard plays drums
-from Oakland, CA
-Musk is the scent of unwanted materials that were moist for too long. It’s the smell of organisms growing in deep, dark places that no one wants to visit. It’s the stink that comes from unwashed balls after they’ve marinated in sweat. It’s a word that few associate with pleasantries, and it’s also a band from Oakland who are dead set on challenging your senses.
The music Musk plays sounds like it comes from a dank basement, written by guys who the rest of world forgot. Their influences are obvious: late ’80s noise rock, raw country balladry of ’70s-era Rolling Stones or early Beasts Of Bourbon, and even the jazzier parts of the Birthday Party. Yet somehow in their shambolic, crumbly tunes they find enough space to jam like Led Zeppelin, but instead of taking stabs at bloated, wannabe-funk, Musk uses the moments to run wild, bashing and crashing and screaming and wailing. Give the band 20 minutes and what you’ll hear will be unpredictable — in a good way.
You could say they’ve grown or matured, but YOU’D BE MISTAKEN. Like all great sequels (“The Godfather II”, “Bring It On : All Or Nothing”, “Eddie & The Cruisers II : Eddie Lives”) MUSK 2 amplifies and expands on themes that made ‘Musk’ a favorite amongst misanthrobes & collector skum alike (or is that an oxymoron?) and does so with laser-like focus.
DJ Dave Pehling
-from San Francisco, CA