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Posts Tagged ‘FFFFs’

In which Zs make my brain hurt

Friday, June 20th, 2008

Zs 2

On Tuesday night, I went to the Velvet Lounge to see a pretty great quadruple bill of avant/experimental-minded groups: New York-based Zs, who have been one of my favorite avant-rock groups for a couple years now; DC’s Caution Curves, El Paso’s zeuhl-heads Corima; and DC’s FFFFs.


FFFFs opened things up, at a typically (for Velvet Lounge) late hour of around 10pm. This is a solo act of a dude named Sean Peoples (pictured above); when I saw him last year opening for Zs, he played very calm, pretty ambient stuff - which is also what’s found on the one recording I have of his, Tree Epic. This time around, though, things were very different; Sean crouched behind his laptop for his brief set and bombarded the audience with some thumping beats and a much more aggressive brand of electronic music. The ambient stuff is more up my alley, I have to say, but perhaps this more bombastic material was more in line with the bands to come.

Corima 6

Corima were one of the reasons I was excited about the show; any band that lists Magma and Koenjihyakkei as prime influences has my attention. Additionally, I was forwarded an email about them from one of the bands that they had played with earlier on their tour, in which the words “fucking amazing” appeared prominently. And, to be sure, these guys were all fucking amazing musicians. They are a very young trio - drums, keys, and bass - whose music is almost a straight-up homage to the aforementioned zeuhl bands. Seriously, it was like if Ruins or Koenjihyakkei wrote 20-minute-long songs. It was the most bombastic, over-the-top performance I’ve seen since… well, Dream Theater, but let’s not go there.

If that description sounds exhausting, well, that’s what it was. Corima definitely had some awesome, jaw-dropping moments - the lightning-fast, dissonant keyboard solos in particular tickled my aural pleasure centers, and drummer Sergio Sanchez did a pretty credible Yoshida/Vander act - but the compositions were so long and disjointed that they lost me within minutes. They played three pieces and by the end I was fried. Really, really enjoyed parts of the set, and I hope they tighten up their writing - this is a group with pretty huge potential. Did I mention the musicianship was pretty jaw-dropping?

Caution Curves 2

Now, if Corima were wild and exhausting, at least I had all the right reference points to understand what they were trying to do. When The Caution Curves came on, it was immediately clear to me that this wasn’t the case for this band. They are a duo, one member on drums and percussion, the other on laptop and reeds, and both are vocalists. But not vocalists in any traditional sense; rather, their voices were used in a kind of babbling, speaking-in-tongues style, or just to make random noises. The overall feeling was one of total discombobulation. There isn’t much out there these days that makes me think, am I really listening to music or just noise? But this did, and that’s not a bad thing. I’m not sure I enjoyed the set, but it was provocative to say the least.

Day 169: Zs 3

And then it was finally time for the headliners. Zs lost a member recently and are down to a trio of guitar, sax and drums, with the drummer also triggering some electronics that are new since I last saw them. Ben, the guitarist, responded in the affirmative when I asked him if their material had changed substantially as a result, saying, “I think you’ll like it.”

The band ended up playing a single lengthy piece. Zs have always made some of the most bracingly ugly music I’ve ever heard, and that certainly hadn’t changed. The saxophonist spent most of the composition blowing long, extremely high notes, and if there was melody there it was stretched out over such a long period of time that it was imperceptible to me. The piece was fairly slow-moving and deliberate, with thematic and rhythmic changes coming at unpredictable intervals, using generous amounts of repetition as a compositional element. I enjoyed it, but it wasn’t something I’d be able to digest without having a recording of it and settling in with it for some time - it lacked the visceral thrill of some of the older, fast-paced, Discipline-era-King-Crimson-on-steroids (sorry, that’s overly glib) stuff.

Photographically, it was a nightmare. The Velvet Lounge, while my favorite local venue in terms of the acts that they book, is one of my least favorite places to photograph. The lights are always static and generally dim (and most problematically, the front spotlights are blocked by big speakers mounted from the ceiling). Tonight was worse than it’s ever been, with the lights turned lower than I’ve ever seen them. I probably should have gone back and asked the guy controlling the lights to turn them up a little, but, er, I didn’t. In any case, my resulting settings looked like this: ISO HI 1.0 (6400), f/1.8, 1/40 to 1/80 second. Ouch. Definitely pushing the limits of my D300 there.

Needless to say, these are not my best photos ever, and the noise is distracting in some of them. That’s what I get for liking all this obscure music, I suppose; it’s not like I’m ever likely to get the chance to shoot Zs with a huge light show or anything. These are the challenges that come with the territory.

Full set at Flickr, of course.

Zs live was a total revelation.

Tuesday, February 27th, 2007

New York’s Zs played last night in a little hole in the wall near what DC comically calls a Chinatown. I know of these folks from their debut album on Troubleman Unlimited (home of such pretty, happy music as The Flying Luttenbachers) and their 2005 EP on DC’s Planaria Recordings, Karate Bump. They are an aggressively ugly, wilfully repetitive, brain-achingly mathy chamber ensemble of sorts, in this instance boasting a lineup of guitar/sax/drums and one guy who alternated between guitar, bass and keyboards. I was at this show with Steve F. and another friend and wondered out loud about their setup, in which they were arranged in a square with the musicians facing inwards, such that the audience could not see all of them at a time. It soon became evident that this setup was efficacious because it allowed all four of the musicians to see each other at all times.

To make a long story short, Zs were crazy fun to watch because they were superhumanly tight. They were playing some seriously knotty compositions, rhythms shifting so fast they were practically impossible to keep up with, but somehow the band never missed a beat (literally). The drummer was the one I had the best view of, and for me he was especially fun to watch because you could tell that he was concentrating with all his might. And despite playing sick, intricate compositions, they managed to rock out in the process as well. The first song was absolutely brilliant, and Steve turned to me and said, “that must have been what it was like to see the Philip Glass Ensemble in 1970.” There was a song with vocals that I didn’t find quite so compelling — though the vocals themselves were, of course, a unison chant in some incomprehensible shifting meter — but then the last song was tremendous, sounding kind of like “Bump” off of Karate Bump, substituting the drums with hand claps and the whispering saxes with subtle guitar picking.

I should mention that Zs‘ music is eminently hatable. That is, they make almost no concessions to melody and absolutely none to consonance. If the classic minimalist composers raise your hackles a bit, these guys will make you want to kill someone. That said, while I dig their albums, I pretty much just adored them in a live setting. Getting to see them play these absurd compositions in the flesh was a real treat.

I bought their recent live release at the show and will be reviewing it shortly, so for more words about this fucking ridiculous band, stay tuned.

I should also mention one of the openers, FFFFs. This is a solo guitar/electronics project of Sean Peoples, who is a member of bands decently known in the DC underground like Hand Fed Babies and Big Cats. I saw Big Cats last year and basically they were three guitarists making a shitload of noise, so I was pleasantly surprised when, as FFFFs, Peoples instead played some pretty nice, soothing ambient stuff. Ambient music in a live setting has never really been my thing, but this was good stuff. It was a good night all around.