I love a bill comprised solely of artists I actually want to see. This definitely provided impetus for me to make a solo trip up to the city, and I’m happy to report that I’m glad I went.
I, uh accidentally, parked on Valencia so that I’d have to walk past Aquarius records, so of course I made a stop there so I could stock up on Finnish music. After that, it was just a short jaunt down the street to The Lab.
As usual, I got there early enough that there was a bit of a wait before opener Sokai Stilhed hit the stage. During this time, it hit me that if one pronounces Sokai Stilhed just so, it sounds like the names of two different fish species. Sockeye Steelhead. Coincidence? Intentional? (side note: a little internet research reveals that it is indeed intentional – swimming against the stream). I was also pleasantly surprised that there were free Sokai Stilhed cdrs (entitled “Free To Have”) at the entrance table, a happy happening even though I’d already downloaded the songs from her bandcamp page. I love me a good physical release.
Sokai Stilhed is the name used by Seattle musician Heather Cullen. She started things off with some pleasant crackling noises before launching into a bit of haunting old-timey americana. As she sang, she electronically manipulated her voice in such a way that soon she was harmonizing with herself. It was absolutely transfixing. Her second piece featured similar manipulation, and then suddenly her set was over. I could have listened to her for much longer, so hopefully she’ll do more local shows in the near future. The electronic textures and her wonderful voice mesh well together, sounding like music born from the collision of two different planes of existence, one steeped in tradition and the other bubbling over with anarchy. Very exciting stuff, like being simultaneously caressed and abraded.
It has been awhile since I’ve seen Common Eider, King Eider, and this was to be the first time I’d seen them with Gregory Hagan, who didn’t perform with them the last time I attended one of their shows due to an unfortunate encounter with the wrong end of a gun. This gig proved to be a lot different from the last one, with atmosphere and flow reigning supreme. The band members performed on the fringes of the (by now sizeable, by Lab standards) crowd, with Mr. Hagan actually behind the seated audience, but this was so that our eyes would be focused on the film being screened, a film of bright, snowy landscapes in which a cabin is being built. It was all quite interesting, but at times the haunting, drony music didn’t really seem to mesh with the visuals. Wordless, keening vocals flirted with the stratosphere and earthy drones kept them anchored, while on screen, people in bright parkas worked with wood. Occasionally, during long shots of sunsets and horizons, the music gelled perfectly with the images.
Barn Owl, for this show joined by drummer Jacob Felix Huele, ended the evening with a massive improvised performance. Jon Porras and Evan Caminiti vacillated between guitars and keyboards, effortlessly producing the heavy, occasionally middle-eastern sounding drone rock that they’ve become known for, while Heule did some seriously interesting percussive things, dragging and scraping cymbals around, sometimes using his feet to tighten drumheads while he played them, and going crazy on wooden blocks. The description almost sounds like there’d be a jarring contrast between Huele’s playing and that of Porras and Caminiti, but it all melded together seamlessly.
Another good night out. Support these musicians if you can.
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