If you’ve grown complacent with summer festivals that boast packed bills but feature little to no interaction amongst the performers, the Indie Rock-friendly trio No Age, Deerhunter and Dan Deacon has an unusual antidote. In what sounds like a logistical nightmare, the acts — an Indie Punk two-piece, a gang of four kicking out artsy, psychedelic Post Punk and a one-man whirlpool of bizarre electronic vigor — will perform one set together. Sharing the stage of the Southgate House from the beginning of the concert until its conclusion, the multi-flavored bunch will trade off modified forms of old songs and collaborate on new experiments, round robin-style.
How will this septet actually work together? What’s the format going to end up as? Will it end up as an enlightening mesh or an over-involved disaster? No clue! The uncertainty of the premise is what makes it so fascinating. Now, a run-down of the cast:
For those who have kept up on Indie Rock, all-ages, D.I.Y.
Los Angeles venue The Smell’s impressive palette of unrefined, often concussive clatter has attracted much attention within the last six months. The scene is led by the de facto ringleaders of No Age (pictured). Randy Randall and Dean Spunt use the crudeness of Noise Rock, ’80s Hardcore’s lack of pretense, the inventiveness of Post-Punk and glimmers of Indie Pop to craft tracks anchored in gorgeously cruddy guitar textures and enamel-ripping drum work. Nouns, the band’s 2008 Sub Pop debut CD, killed.
Next is Deerhunter, an Atlanta quartet that soaks its Post Punk structures in the detritus of ‘60s Garage and ‘70s Rock to create a potently moody product. Lead singer/guitarist Bradford Cox comes off as a distant, spectral figure, his voice drifting among thickening, wild rhythms. While Deerhunter’s rise has been punctuated with tumult (Cox suffers from a genetic disorder, one band member died before the full-length was released and five players have come and gone in eight years), last year’s Microcastle CD shot the act to its current critical peak.
Rounding out the lineup is Baltimore-based Dan Deacon. Perpetually clad in big glasses and brightly hued T-shirts that seem ripped out of the ‘90s, Deacon tends to situate his tools within the center of a crowd, using trippy synthesizers, distorted vocals and ambitious instrumentation to turn his concerts frenetic. He celebrated March’s Bromst CD release with a tour that featured 13 (!) instruments, perhaps impromptu preparation for the madness that should be Tuesday’s performance.
(Buy tickets, check out performance times and find nearby bars and restaurants here.)
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