So it’s been a little while since I posted here. My day job is fulfilling many of my WordPress hungerings and the Glove of Bones side dish has been occupying my down time. September & October have also been quite a gig fest – King Crimson, Hey Colossus & Kogumaza, The Sisters of Mercy, Space Lady, the Sun Ra Arkestra in a couple of days and last night the stunning God Speed You Black Emperor. I’ve been looking all day for some comment but nothing so far. So I’m here to hang around in a temporarily empty space.
It’s apparently been 13 years since the last time they played the Warwick Arts Centre. Whilst nowhere near main stream the band has a fairly legendary cult status. Formed in 1996 in Canada and broadly tagged ‘post rock’ they are still a large ensemble of skilled and dedicated noise makers. The last album Asunder, Sweet and Other Distress from earlier in the year is their first single platter, all previous productions being expansive long form albums of everything from riffing & crushing guitars, folkish violin & cello to drone, static & tape loops.
The hall at WAC is mainly standing, a modern campus theatre space with a single balcony (I vaguely recall watching Bauhaus & the Southern Death Cult here in the 80’s in its previous life). The stage is low with dark curtain drops at the back. This was littered with equipment, two drum kits, double bass, stacks of amps and complex daisy chained effects peddles.
The opening band was The Dead Rat Orchestra, two contemporary chaps doing what I can best describe as post Tudor revolutionary ambient folk drone. Honestly, look them up. They were really engaging and idiosyncratic. Have a look here.
Just a little before 9.00pm the lights went down and the back drop flickered with shadows. A low bass drone hung in the air indicating the volume we should anticipate. Many sensible folks plugged in their ear defenders. Sophie Trudeau & Thierry Amar came out first, hooking up to the electricity and drawing sound from their instruments. The remainder of the band came in from the shadows slowly, Aidan Girt & Timothy Herzog on drums & percussion, Mauro Pezzente on bass, David Bryant and Mike Moya on guitars and effects – both seated, and finally notional band leader of the anarchist collective Efrim Menuck also on guitar, tapes & loops and a mountain of effects. From there on in its anyones guess. The band play, they don’t do show, no guitar faces, no ‘Hello Warwick and the surrounding areas!”, (in fact no vocal mikes at all). The songs are long pieces that build & evolve, the band know the pieces inside out and pass cues between them selves, and when they let fly the sound is internal and external, it shakes your boots and soul, glorious sweeping violin, growling distorted guitars and gut punching bass. Although I was on the frontline I didn’t in the end reach for ear plugs. It was loud but it was perfectly placed for the room. I could mainly hear the sound from the bands back line rather than the halls PA and their evident skill with sound manipulation would have been lost with a restricted plugged up dynamic range.
Its not impossible that they improvise around some pieces, I don’t know the songs by name, more by feel. They certainly played the four songs from the recent album:”Peasantry or ‘Light! Inside of Light!’ Lambs’ Breath, Asunder, Sweet & the monstorously huge Piss Crowns Are Trebled. If I find a set list I’ll add it in.
EDIT – Setlist as promised;
Peasantry or ‘Light! Inside of Light!’
Piss Crowns Are Trebled
The Sad Mafioso
This is ‘Hope Drone’ from 2011
I was as anticipant to see this as I was King Crimson – ultimately very aligned bands, equally about the music – but for pure visceral eye watering impact GSYBE took the edge. If you get the chance they really should not be missed. Its a fine line between GSYBE and Swans as to who’s the most affecting. Swans damaged my ears more…. but that was equally worth while.
Here’s GSYBE from earlier in the year