fluc
wanneUGLY AMERICANS FESTIVAL / DAY 1
Dienstag, 7. Oktoberpres.
POW! (11pm)
VAZ (10 pm)
THE GARY (9pm)
skug-Autor und Filmemacher Paul Poet empfiehlt:
“Die Wahrhaftigkeit suchende Anmut des Hässlichen, Gemeinen und Brutalen. Das UGLY AMERICANS-Festival im Wiener fluc versucht in fünf Tagen Noise-Rock als heißen Scheiß von heute wieder zu entdecken. Die Zeit ist reif und gut dafür. War Grunge Ende der 1980er der ungewaschene, depressive kleine Bruder des Stadion-Rock der Seventies, so erschien Noise-Rock als sein Zwitter-Zwilling als aktionistische Fortführung psychedelischer Prä-Punk-Rabauken wie den Stooges, Stones, Electric Prunes und 13th Floor Elevators. Die komplette Dekonstruktion von Classic Rock, um hemmungslos in den Trümmern zu tanzen. Schluss mit lustig, politisch korrekt und Herrn Immerfreund und Facebook-Lecker. Rock, Roll, alle Kunst schlechthin, muss krachen, zuschlagen, in die Fresse pissen und kacken können. Das Potential zum Bösen, zum Dreck, zur magmatischen Zerstörung in uns ausloten. Und so wie damals Big Black, Jesus Lizard, Boss Hog, Melvins, die Butthole Surfers die Kings of Filth waren, scharen sich heute, rechtzeitig zum neuen kalten Krieg und zur Aufkündigung der Weltsicherheits-Ordnung, die Youngsters, um mit saftig Feedback und bassbrummender Aggression den Pipi-Caca-Twist zu tanzen. Besonders bemerkenswert in dieser ersten Edition der Konzertreihe, die weitgehend in unknown territory nach den besten Winterkirschen schürft: Das sexy Cramps-Stomp Ehepaar GHOST WOLVES aus Austin, Texas, die Prog-Jazz-Brutalinskis von CHILD ABUSE und die Wiederkehrer der damals schon unter dem Label-Banner von AMPHETAMINE REPTILE firmierenden HAMMERHEAD bzw. VAZ. In diesem Sinn: Get down and dirty with us! Das Rockkonzert als maßloser Exzess wie öffentliche Psychotherapie.”
POW!
POW! emerges from the tech-waste of the shiny/shitty new San Francisco - deep 80´s synth bass percolating under the circuit-swamp-fried-egg guitar…the drums a teenage tiger´s heartbeat and vocals delivered like a dead-pan face-slap from a kid half your age. Castle face is proud to present their first full length, “Hi-Tech Boom” in 2014.
www.facebook.com/straighttothekisser
VAZ
Back in the 1990s, members of Vaz were in North Dakota trio Hammerhead. While they weren’t able to cash in for big bucks like Helmet, or stick around long enough to achieve elder-statesmen status like the Melvins, Hammerhead did carve out their own neglected little niche, albeit in a fashion that had more in common with their Touch and Go contemporaries— Shellac, Jesus Lizard, etc.— than any of their kissing cousins on AmRep.
When two-thirds of Hammerhead— vocalist/guitarist Paul Erickson and drummer Jeff Moordian— went on to form Vaz following the former’s break-up, they hit the ground running on 2001’s Demonstrations in Micronesia. Displaying a melodic knack that Hammerhead only hinted at, and managing to punch even harder despite not having a bassist, the album found the duo nearly matching the ferocity and focus of their Load Records labelmates Lightning Bolt, all while barbing their hooks with just the right amount of paranoia and menace (thanks to Erickson’s reverb-and-doom-laden vocal stylings). Such an accomplishment, coming when it did, earned them the adoration of a passionate few and, sadly, little else. Their subsequent releases, prior to Bull, didn’t pack nearly the same punch, exchanging the stylistic precision of their first album for a hit-and-miss see-what-happens wanderlust that, while enjoyable in its own right, wasn’t nearly as effective— check out “Give Us the Creeps”, from Dying to Meet You, for one such oddball digression.
If the raucous and raunchy Bull takes after any previous Vaz record, it’s thankfully Micronesia. With second guitarist Tyler Nolan as its third member, the band muddies up their sound in the best possible way. The album comes off like it was recorded for a cassette release, but that sonic crudeness is a plus in this scenario. Nolan and Erickson don’t complement each other as guitar players so much as antagonize or taunt. When Moordian enters the fray, he does so with reckless abandon, setting a breakneck pace that he’s seemingly perpetually in danger of losing. Yet despite of all these chaotic collisions, Vaz never veers off-course, instead banging out no-hold-barred rock tunes that mete their righteous fury with a sense of song. They’re still nowhere near being the Next Big Thing, but with this record getting slightly more exposure, and with a slew of like-minded contemporaries bangingthe same drum, there’s a good chance another Vaz album might come a little quicker next time.”
www.vazmusic.bandcamp.com
THE GARY
The Gary is on tour in support of their fifth album, Farewell Foolish Objects, a collection of songs about insomnia, divorce, urban sprawl, strange childhood memories, bombastic arrival, cautious optimism, and possibility.
The Gary began in 2008 as an informal gathering three friends with instruments, with no more ambition than to get together and break up the monotony of the workweek. Somewhere, between the discussions of music, family, favorite beer, and job-related woe, songs began to form, resulting in the Chub EP. Songs continued to accumulate, and an LP materialized- 2010’s Logan. The album was well-received, and The Gary began taking their act on the road. While in Chicago, they checked into Electrical Audio studios and recorded a session with Steve Albini. This was released in early 2011 as El Camino (coincidentally, a Black Keys album by the same name would come out later that year). Their next album, Remains, followed shortly after in fall 2012, along with a European tour and a string of dates with Mission Of Burma. 2014’s Farewell Foolish Objects is their second release on Sick Room Records. The Gary is Dave Norwood (bass/vocals), Trey Pool (guitar), and Paul Warner (drums).
www.thegary.com
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