The show at Louis Family Restaurant was the culmination of Nightmom’s first national tour. On the road for 30 days, the band traveled some 9000 miles to promote Glider Heaven, their second full-length, the photo for the cover of which Travis found in an old copy of National Geographic. Long live Glider Love.
Genius is evident, in that the vocals sound like the sleepily processed thoughts of one depressed in bed deciding whether or not to face the world, yet the other instruments embody total rhythmic tonal conviction, crushing any uncertainty
The wail escalates, peaking as the threshold is torn apart. The guitar drone pours out, inundating the audience, and inducing a deafening stillness, the unwound vibrations channeled by the crowd at a speed such that all is centered
talking to Sam before the show, he raised an essential point about defining the modern listener experience.
expressing rebellion against the musical world’s trend towards hyperspecificity, he argued that new artists are confined to certain niches if they hope to receive support niches which have often been exploited to their full extent.
Ego mutinied against my supposed sovereign role as the reviewer to explore the parallels between the ethereal dreamscape conjured by the band’s choice of title and their performance. At times the performance was gracefully delicate, but the apparent burden of tension in the limbs of the band members informed the audience that the halcyon daze would not last.
From the start of the soundcheck, playful banter bounces between the members of the band. Even with the hilarious events of the pre-show experience, audience members still struggled to laugh and pay attention to the comedy act before them.
“The instruments suddenly surf out on the waves of their own infinite sonic buildup, saturated in the continued escalation, sinful resolution swallowing the entire space. The veil falls. High tide has turned to low in the twisting of the clock, rather than the earth”
“The entire Nine Inch Nails production was not only industrial in sound, but industrial in operation. With all troubles attended to, the band was free to play as they please, Reznor starring as the grooving goth pop diva of a tainted dream. The bouncers themselves were bouncing to the arresting rhythms.”
The sixtieth birthday celebration for MacArthur Fellow John Zorn could be considered a conjugal visit for the museum’s collection of breathtaking art. Numerous musicians who have contributed to the massive body of Zorn’s work performed throughout the day, including singer and abstract vocalist Mike Patton, most known for his work as the lead singer of Faith No More.
