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Artist of the Month
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March 2015
Blood Sound
"Nightclub
"
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Blood Sound’s post-punk tracks are informed by an audible nostalgia for the dance floors and goth clubs of the latter ‘80s. Their latest LP Nightclub is a hybrid of dark wave and dream pop. Marrying synth-drenched harmonies with emotively vibrant lyricism, the subtle romantics of the band’s debut full-length fit seamlessly with the buzzing percussive backbeats of earlier cuts by Cold Cave (circa Love Comes Close) or The Cure’s “Primary” stripped bare to its core.
 
“TV Synth 1” sets the tone for Nightclub’s narrative with a brief yet textured prelude to “I Don’t Want.” Relatable like an antithesis of The Smiths’ “There Is A Light That Never Goes Out,” Blood Sound’s “I Don’t Want” personifies the complexities of yearning, desire, and loneliness. As frontman Chris Jordan croons “I don’t want the city’s lights to go down/I don’t want to find home,” guitar riffs magnify the weight of his words without casting them melodramatic. The track is a fitting anthem for the passing of youth, failed love, and transition.
 
The buzzing start of “L.A. Punk” explores that thin line between authenticity and commoditization, the song’s instrumentation paying homage in its own way to the early underground and its subsequent subcultures. As if channeling a sedated rendition of Peter Murphy’s tone and diction, “L.A. Punk” is as memorable as it is brooding. “Acid Summer” gives an inward glimpse at the intimate nature of grief, mortality, and memory. When Jordan sings, “The 1980s died that day,” the listener feels it in their gut. It’s undeniable. The connection between what is experienced and how that experience is remembered is amplified by the track’s thumping tempo.
 
“Empty” plays out like the perfect soundtrack to an inevitable breakup, coupling affection with exhaustion, with the synth framing the heart-wrenching truth of lines like “I was too in love to say/that your story was a bore/Now I gave up on bad dreams and endings/beginnings and beginnings.” It offers a viable catharsis for jilted lovers with a penchant for fuzzed-out refrains.
 
“TV Synth 2” precedes the lyrically minimal yet heavy “Embrace” which serves as Nightclub’s melodic memento mori. “Almost” is subdued yet gripping, slowing the momentum of the record in advanced of “TV Synth 3,” which unfolds like a VHS fever dream. “Fake Blood” is evocative, with reverb and a pulsating backbeat that swells as the song progresses. Arguably the darkest track on the album, Jordan’s diction is hypnotic, “Kill your dreams and wait for/the fake blood to pour out.”
 
Ending with the well-placed “Catacombs,” Nightclub’s final track encapsulates the thrill of beginnings and the way one remembers them. Set to a beat reminiscent of Joy Division’s quintessential single “Love Will Tear Us Apart,” “Catacombs,” much like the songs that precede it, is reason alone to return to Nightclub. - Dianca London Potts

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Fear Tinnitus w/Heavy Medical, Xanax & Drums Like Machine Guns at KFN March 6

Fear Tinnitus w/Heavy Medical, Xanax & Drums Like Machine Guns at KFN March 6

Sludge purveyors Heavy Medical are planning another ambush with their battalion of all things noise and mayhem. Ready for the promised destruction that could only be brought on by a bass guitar swallowing two drum kits? Yeah, most people aren’t. Along with them will be my new favorites, the ever so explosive Xanax. This project boasts a lineup featuring members of +HIRS+, Saetia, Des Ark, and Amateur Party, but despite the orgy of sound suggested through previous text, this band wants one thing: to burn down the building with its chunky, punching bass, violent guitars, and piercing howls. Also in tandem will be the brothers of noise Drums Like Machine Guns. Check out this blast beat brigade upstairs at Kung Fu Necktie tonight. Please, don’t forget your earplugs. Kung Fu Necktie, 1250 N. Front St., 9pm, $3, 21+ - Ed Newton

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