Alcest

METAL SUCKS Presents

Alcest

The Body, Creepers, Wrekmeister Harmonies

Thu, February 2, 2017

Doors: 8:00 pm / Show: 8:00 pm

$17.00 - $20.00

This event is 21 and over

Alcest
Alcest
Kodama, the fifth album from blackgaze pioneers, Alcest, marks the French duo's ferocious return to the stylistic maximalism of its early albums while continuing the band's relentless pursuit for new sounds and fresh ideas. Kodama, the Japanese word for ͚tree spirit͛, also implies 'echo' (through yamabiko - the process of sounds reverberating across mountains, valleys and forests, which is often attributed to these spirits), and from the album's structure and dynamics to its cinematic sound, Kodama indeed 'echoes' Alcest's 2010 classic, Écailles De Lune. But this is no simple back-to-roots affair: across its six goliath tracks, Kodama possesses greater punch, rhythm and a more organic feel than ever before. While clearly influenced by Western bands like The Smashing Pumpkins, Tool, Dinosaur Jr., Grimes and The Cure, ultimately, Kodama reveals itself as Alcest's 'Japanese album', drawing substantial inspiration from Japanese art and culture. Originally triggered by Hayao Miyazaki's anime film Princess Mononoke, Kodama picks up on the fate of its protagonist and, at its core, deals with the sensation of not belonging; of living in between worlds, be it city and nature or the physical and spiritual one. Duality is also crucial for the visual approach of the album, realized by French graphic designer duo Førtifem. Paying tribute to Japanese illustrators like Takato Yamamoto, the visuals portray contrasting elements like nature/urbanity, youth/death, femininity/animality and combine poetic elements with darker ones that were not present in Alcest's earlier works. By giving the album a cultural, stylistic and compositional narrative, Neige and Winterhalter keep Kodama from just being the latest improvement on the Alcest sound and instead make the album a most rare and exciting thing: a vital, relevant record from a pioneer that not only upholds the band's trailblazing legacy but actually makes you want to see where they go next.
The Body
The Body
10 years and going strong. Like the best of Eyehategod or Bastard Noise, All the Waters is the rare album that feels truly dangerous. As it crushes and collides doom metal, harsh noise, industrial rock, and gospel singing into one mean mess, it seems to obey no rules but its own. The result is a singular, explosive masterpiece and one of the year's essential heavy exploits -- even if, at turns, it sends you cowering. - Pitchfork.com
Creepers
Creepers
Dan and Shiv started Creepers as a 2 piece in 2011. They have evolved into a quartet bringing you layered pysch tunes. Members of Creepers are also in Deafheaven, White Cloud, and Golden Drugs.
Wrekmeister Harmonies
Wrekmeister Harmonies
JR Robinson has been writing and recording music as Wrekmeister Harmonies in various incarnations since 2006. You've Always Meant So Much To Me was written to accompany a film Robinson shot in decimated Detroit locations, the desert of Joshua Tree and decaying forests of Tasmania. In 2012 he brought together some of the most revered musicians in the black metal and experimental music worlds (Jef Whitehead of Leviathan, Sanford Parker and Andrew Markuszewski of Nachmystium, Jamie Fennelly aka Mind Over Mirrors, Mark Solotroff of Anatomy of Habit, Bruce Lamont of Yakuza, and more) to perform the 38 minute composition at the Museum of Contemporary Art in Chicago to much acclaim and a sold out theater. The collaborators for the live performance joined Robinson at Steve Albini's Electrical Audio later that year to record the composition in full.

The beauty and darkness of the visuals are reflected in the music, which seeps from the ether with great melancholy. Reflective drones grow and decay, forming waves of overlapping sound that evolve into a gigantic roar of distorted guitar. Searing, disembodied howls and pummeling drums signal a shift from mournful to harrowing as Robinson and his ensemble lurch forward into the abyss. As the metal elements dwindle, electronics return to the fore, accompanied by a softly plucked harp signaling gentle finality.

Robinson began Wrekmeister Harmonies by recording sonic templates in museums in the US and Europe. These include recordings made at the Andy Warhol Museum in Pittsburgh, the Gugenheim Museum and PS1 in New York, the Getty Museum in Los Angeles, SF MOMA in San Francisco, the Pompidou Center in Paris and the Art Center Berlin as well as site recordings at Joshua Tree National Park in California and both the Golden Gate Bridge and the Brooklyn Bridge. Robinson has taken these recordings and by collaborating with musicians Ken Vandermark, David Yow (Jesus Lizard), Mark Shippy and Pat Samson (US Maple), Matt Carson, Nate McBride, Fred Lonberg Holm, John Herndon & Jeff Parker (Tortoise), and Azita has created a unique hybrid of sound art and avant garde music.

The end result of that first incarnation of players and those recordings was dubbed Wrekmeister Harmonies: Recordings Made in Public Spaces and was released by Atavistic Records in 2009. This cd/dvd set received a top 10 honor that year from a journalist for the Village Voice's esteemed Pazz & Jop polls for the year.
Venue Information:
Highline
210 Broadway Ave E
Seattle, WA, 98122
http://highlineseattle.com