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.
Saturday November 10 2018
8:00PM doors -- music at 9:00PM
••• ALL AGES
$18 in advance / $20 at the door
Noise rock; grindcore
dirge pop, noisy punk
Death Industrial, Neoclassical Darkwave
Nicholas Andrew Sadler
Samuel Moorehouse Walker
-from Providence, RI
-Daughters is vocalist Alexis Marshall, guitar player Nick Sadler, drummer Jon Syverson and bass player Sam Walker. Following the release of their 2010 self-titled album, the band took an indefinite hiatus, returning in 2013 for a pair of sold out hometown shows in Providence, and a subsequent smattering of live dates in the intervening years, including joining Dillinger Escape Plan for live outings in December of 2017. Daughters have been hailed for their visceral performances, both live and on record, with Pitchfork describing them as “manic” and “pummeling” and Punk News pointing to their “frantic energy” and “spastic urgency.”
Alex Gaziano, Justin Gallego
Jason Clackley, Jon Schied
-from Seattle, WA
-The first thing you’ll notice about Seattle punks Dreamdecay is that they are very loud.
This was fully put into perspective earlier this month, when they played the Know with bands significantly less loud than them—historically a faux pas, especially in Portland. (See Portlandia’s “Battle of the Gentle Bands,” the series’ most accurate skit!) But nobody in the audience batted an eyelash. In fact, some people were even tapping their feet.
This makes sense, sort of—Dreamdecay’s new full-length, Yś, is one of the most accessible heavy records released in recent memory. It’s also a far cry from the band’s last LP, 2013’s N V N V N V (pronounced “envy,” I think)—a lurching, noisy slow-burn characterized by guitars that sound like diving artillery shells and etherized, inscrutable vocals. N V N V N V is a frightening record.
“I think Yś just got more focused,” says guitarist Jon Scheid.
“Where maybe N V was more ‘jammed out’ and more progressive, Yś is maybe, for lack of a better term, more pop-oriented,” bassist Jason Clackley adds.
To someone who’s never heard Dreamdecay—and certainly to someone who isn’t entrenched in the rarefied world of progressive punk—that description might seem a little deceptive. Yś is no less jarring and discordant than its predecessor, but on it, Dreamdecay frames their signature brand of weirdo rock in a more palatable context. Only one of its nine tracks exceeds four and a half minutes in length (compared with N V, which boasts three brooding epics), and guitars take the form of geometric, jangling bursts rather than atmospheric drones. The band hasn’t forsaken aggression, but it’s tempered it with nuance—brighter tones, more identifiable melodies, and a shit-ton of tambourine.
-from Providence, RI
-LINGUA IGNOTA, the solo project of multidisciplinary artist Kristin Hayter, takes a radical, unflinching approach to themes of violence and vengeance in ways that are moving, brutal, and harrowing. Her music is intentionally situated at specific and strange intersections, incorporating elements of power electronics, death industrial, and black metal alongside baroque classical, spiritual minimalism and folk. Relentless intensity and soaring dramatic arcs are informed by Hayter’s background in classical music, and the major sonic locus of the project is her voice, a dynamic entity that rushes from unhinged screaming to lilting soprano to angular belting with an artistry and ferocity that has drawn comparisons to Diamanda Galas. She is notorious for confrontational live performances that can leave an audience breathless or in tears.
Hayter began classical training at the age of ten with intent to pursue an operatic conservatory track. Instead she developed an interdisciplinary fine arts practice at The School of the Art Institute of Chicago. She continued with graduate work at Brown University, producing a controversial thesis titled BURN EVERYTHING TRUST NO ONE KILL YOURSELF. LINGUA IGNOTA was born out of this thesis which re-contextualized misogynist content as biblically vitriolic anthems for survivors of domestic violence and sexual assault. A survivor herself, Hayter seeks to give a singularly aggressive voice to the unheard, silenced, and dismissed.
Lingua Ignota self-released two albums in 2017 that garnered noteworthy attention and accolades. She tours and collaborates chiefly with metal-transgressing luminaries The Body.