TotalFest XI: Retrospective

For those of you who don't know what I'm talking about (I'm sure you all do, I doubt anyone who isn't local or isn't a personal friend of mine reads this blog anyway), check out the madness HERE.

I purchased my pass about a week prior to the actual festival itself by selling multiple personal items, as I've been broke as hell since the release of "Dreaming As Punishment" and "Total Shitcore" with my band Shramana. I was excited for the headliners though. . .I had been a fan of Torche for some years now.

The first night of festivities took place at Zoo City Apparel followed by an evening show at The Top Hat. Our friends and comrades King Elephant opened up the whole proceedings with a bang, followed by several other bands, including locals Buddy Jackson. I'm not really a fan of the headliner act of that show, Big Eyes, and I don't do feel-good-garage-rock like our Missoula-friends-turned-Austinians had to offer, so, to conserve on my terrible habit of chain smoking/beering (and because Wizard Rifle dropped), I decided to hold off until the Top Hat show. When I arrived, it appeared as though I had already missed a bit of the action but was surprised to find out that live, I really enjoy the band Unnatural Helpers. For a moment, I was taken aback thinking of how it is now acceptable to look like a member of Fleetwood Mac again while being in a modern pop/rock band. As their set progressed, I found myself thinking that at their worst, they sounded a bit like the dregs of pop-punk (Blink 182, etc) but at their shining moments, towards the end of their set, I almost thought I was seeing Black Francis sing for Pissed Jeans. I was in and out for the remaining bands, as dance acts like NoFi Soul Rebellion and Dan Deacon held little more of an interest for me than to watch the spectacle unravel. I don't normally complain about my eyesight (those of you that know me know that I have a condition called retinitis pigmentosa that prevents me from seeing much), but I have a feeling that if I would have been able to witness what some of these performers were actually up to, I would have enjoyed this much more. Instead, I took part in the aforementioned chain smoking/beering with cohorts of mine and laughing at the gentleman present who apparently came to inform all of us "degenerates" that we should "get our lives together" by joining the military, so we could all be as cool as he was.

Pacing myself has never been a skill that I have mastered, and opening TFXI by drinking myself silly was a poor decision. Although I attempted to cure my hellacious hangover in the usual manner (eating Albertson's fried chicken, chugging water and watching Star Trek), I still was not feeling top-notch the second evening. I did not make it (once again) to Zoo City Apparel for the early "pop" show. This means that even though I do love me some surf rock, I missed out on seeing Guantanamo Baywatch (great name, right?) as well as other pop sensations including Missoula's Needlecraft.

I made it to the Badlander just in time to catch an act that I was very interested in: The Funeral and the Twilight. With a name like that, how could I miss them? These guys have a sound that is very difficult to place, but I'd describe it as post-every-kind-of-rock, with a healthy dose of goth, first wave doom and shoegaze in there. I enjoyed them immensely, especially the beard. You'd know if you were there. Also, that drummer rules.

Next up would have been San Fransisco's Pins of Light, but due to illness, they were unable to attend. While this is unfortunate, I feel as though this was a blessing in disguise as Swamp Wolf, a band from Flagstaff, AZ, happened to be staying the night at Chris, the proprietor of Zoo City Apparel's house that evening and were asked to fill the bill. The are now now one of my new favorite bands If you haven't heard of Swamp Wolf, do yourself a favor. Click the link. You won't regret it. Searing power ripped off of the stage as they began to transcend multiple genres of heavy in a blaze of growls and feedback. This is what happens when musicians passionate for all forms of hardcore/punk and alt-metal truly just do whatever the fuck they want. The world would be a better place if they came back to Missoula. Ok, I'm done now.

Criminal Code from Olympia was next on my list. I booked it downstairs to see a band that had, from the records I had listened to beforehand, been one I had been excited to see. I left during their set. It was lackluster punk rock that failed to translate from recorded medium to a live sound.

I then awaited the onslaught that would be Iron Lung (Seattle). These dudes DON'T FUCK AROUND. I stupidly decided I didn't want to miss out on any of the insanely fast and ferocious two-piece's antics and firmly planted myself up front for the ordeal. Bad idea. While the music was thoroughly enjoyable, a no-holds-barred mixture of grind, powerviolence and hardcore with elements of noise rock (with amazing drumming and guitarwork), I simply did not get to enjoy it due to the most brutal pit I have been in in a long time. Once again, due to my eyesight I often am wary of putting myself into a position like that at a show, however I felt that I would fair alright. Not so. At one point, I was tossed onto the stage, knocking over the drummer's high-hat and two mic stands and then pinned by the legs in that position for upwards for twenty seconds. I can't ever be angry for pits like these though. When a band makes music that can be described as "powerviolence," shut the fuck up and take whatever punches get thrown at you in a pit, cane or not. I survived Iron Lung and all I got was this stupid blog post.

I don't know how I missed Lecherous Gaze but I heard that it ruled. It's neither here nor there, because immediately thereafter, Florida legends Torche (with Steve Brooks from the eminent Floor) took the stage. If you've gotten this far and aren't familiar with Torche's body of work, once again, do yourself a favor and go back and click on the link. As soon as they busted into "Kicking," I was in full dance mode, doing a strange mixture of pogoing, slam-dancing and trying to initiate some strange form of circle-pit. Torche's truly unique style of tunage I have always described as "90's pop-tunes played in drop-A until they get bored and start to play stoner-doom." That's how most of their albums go; indeed, that's how the show went. I blissfully stormed home with a cadre of friends to continue to booze with. Again. Like a fool.

A fool indeed, as the next day I felt worse than the previous two and knew that this evening would hold Harkonen and Sandrider.

I was running a little late, but I managed to see a bit of Dreamdecay, and oh-boy-oh-gosh-oh-golly-gee was that a good thing. A seemingly infinite wall of sound filled the VFW sweat chamber out of a never-ending tower of amplification with a chamber-style echoing voice hiding somewhere in the mix. I feel as though I would struggle to describe them accurately, because using the term "noise rock" isn't quite accurate. Maybe "heavy noise-rock?" Repetitive riffs, strange shrieks and dark reverberations drove me into a dark sinkhole of tone.

I needed to get out of that sinkhole fast, though, because I really didn't want to miss Gay Witch Abortion. A two piece (bass and drums) with a very heavy, intricate sound, GWA didn't disappoint. Opening with a long drone that build into a full Karp-esque fury, I was disappointed to learn that the entirety of the material they played that evening was not yet available for purchase. I certainly hope they make it through again.

Leaping and bounding (more like trying to feel around with my cane without tripping people and continuously saying "Pardon me; oh, excuse me, I'm sorry!") downstairs, I made it just in time to catch Buildings from MN.This band's Jesus Lizard (amongst other 90's noise rock) influence is worn on their sleeve, and I think that's ok, as that sound is not only difficult to emulate, but in all likelihood, difficult to imitate. Truly heavier than their (presumed) influence and at times darker, I was significantly more impressed with this band live then recorded, which is saying something as I did enjoy their recent release, Melt Cry Sleep. I also enjoyed their aesthetic-three dudes on stage in their street clothes playing music and not fussing with the crowd. I feel as if they attempted anything else, it would have been incredibly ill-fitting to the attitude found in their music.

At this time there was quite a lull. I watched a bit of Bacon and Egg, a local group that I've seen plenty, and then I watched my friends watch TacocaT. While I don't have any opinion on TacocaT, let it be known that I greatly dislike music that can be described as "cute." I drank a Red Bull as I discovered that they cost as much as a PBR at the bar and continued to try and recouperate while discussing the finer point of character creation in Pathfinder RPG with friends.

Lozen played. Lozen is not something that is described. Lozen is something that it seen. Lozen is something that is heard. Lozen is something that is felt. Lozen is something that is experienced. By the time they had finished, they had whooped the crowd into somewhat of a tribal, pheremone drenched rhythmic frenzy. Lozen are two ladies from Tacoma. One plays bass and one plays drums (also in Helms Alee). Just listen to them.

The time that I had been waiting for ever since the day before when seeing Torche was what I was waiting for but was no longer the time that I was waiting for because I was now waiting for Sandrider. . .but not anymore. Sandrider from Seattle is possibly one of the best bands in the United States currently in operation. A sound all of their own, a heavy, stoner-influenced metallic-rock (and roll?) with blazing guitarlines and pocket-precise drumming and bass, Sandrider stole my heart before I saw them as I knew the guitarist was at one time a member of legends Akimbo. It is with rarity I inform my girlfriend that I am not available for any reason. Watching Sandrider is one of those reasons. I missed part of Harkonen to watch Sandrider. Groovy, heavy, compelling, driving, forceful and full of relentless power are all ways of describing what I witnessed during the 40 minutes I had the privilege to view this tour-de-force. I reluctantly made my way to see Harkonen, although I have been a Harkonen fan for some time.

I didn't ever think I'd get a chance to see them, as I thought they had broken up in 2005 or something, but I've always been a fan of Brutal Panda bands (Ladder Devils, Fight Amp). Harkonen did truly shine, with post-hardcore stylings played in a metal fashion. I was truly amazed to see the crowd that had gathered that was filled with people you'd normally see at Dead Hipster dance party headbanging right alongside of me. I treasure those moments, not for the comraderie felt in a drunken slamdance, but because they are there. Because those people pay admission fees to Total Fest, I get to see bands like Sandrider, Torche and Harkonen. I get to miss bands like Walls (GODDAMMIT!) because I was watching Gay Witch Abortion (was it worth it? I'll never know!).

Soberest night of them all. I'm very excited for next year.

My camera was broken. Otherwise there would have been great documentation.

Also, I'm throwing a show at Zombie Tools (1909 Wyoming #8, Missoula MT) for Seattle natives, Monogamy Party (also on Good To Die Records, like Sandrider!). A strange fuzzy mix of distorted bass, drums and disjointed screaming, somehow it's great to dance to. Spring Heel Jack (members of Gretchen), Bodean Siffvah (dark acoustic) and Mount Poverty Well Diggers (Zombie Tools residents' band of scum-rockers) will also play on September 6th, 9pm.

dictated but not read.
HUZZAH.

Gretchen is a bitchin' name for a band.

. . .and it has something to do with Nazi Germany. I don't quite remember. It's dark. Ask them (no, they're not Nazis).

It's been a really long time since I've heard a band that wasn't any specific identifiable sub-genre of a genre of rock.

Gretchen broke that stint.

Punk, but not "punk-rock;" heavy, sludgy and dirty, but not "metal" in the traditional sense; dark, sparse, loud, screamed and with alternating tempos, but not crust. Also, melodic. This = boneriffic. As in, gives me at least a half chub.

Another hard hitting local, Gretchen is another band created from the incestuous toxic sludge that is the Missoula punk/heavy music community. If you're a person who is reading this, it's unlikely you don't know who Ryan Bilunka, Josh Jacka and Joey Running-Crane are. Their combined musical track record could stretch from here to the moon, including Shramana, King Elephant, Goddammitboyhowdy!, The Holy Family mission Band, Bird's Mile Home, Suicide Victim, This Band Kills Fascists, Blue Boy Destroy, POA, JackTopTown, Heiress Pilton, Haymarket Overture, Bridgebuilder and well, you get the idea. These dudes live to play and their excellent musicianship is readily apparent.

Gretchen plays Zombie Tools on 5/26/2012 with Shramana, Throne of Lies and Mount Poverty Well Diggers

I feel fortunate to be able to state that these dudes are also good friends of mine. Ryan, the bassist and singer (and main songwriter, I believe) wanted to start a project that was a chaotic as possible. Influences such as Slayer (his life-long favorite band), Circle Takes the Square, Leftover Crack, and a never ending slew of bands that have screamed vocals and  intense, angular progressions with odd timing has helped shape his vision of what he hoped would end up being pure insanity. Josh's blazing guitar skills add an intense melodic shape to the formidable rhythmic body, winding his intricate leads over a variety of tempos, often sounding as though he is leading the very space of the song itself on its own journey through a dark psyche. Joey could be described as one of the most versatile musicians I know, playing guitar and singing/songwriting for his own personal project(s), King Elephant (for whom Ryan also plays bass) and Goddammitboyhowdy!, both of which are folk-influenced pop-punk bands, as well as drumming for local folk-punk favorites, Bird's Mile Home. I honestly had no idea he was an adept drummer until he began to play with a Missoula staple group, Bridgebuilder (who are currently undergoing format transformation). He's been hitting the skins hard these days for a number of projects, this one allows his heavy side to show.

Luckily for us, they'll be releasing their recordings before too long, and you should get out to see them the next time they play. Such incestuous bands have a tendency to be short lived in our fair city, as personal lives and schedules often become hard to juggle when other projects are involved. Pity, as Gretchen currently takes priority for which local band I'm going to see.

Here's footage from their show on 3/31/2012 with Bacon and Egg and Vera.

 

I still will post some stuff about Throne Of Lies and Bridgebuilder. I also got some footage of Total Combined Weight's Minor Threat Complete Discography set on the last night of their residency at the VFW, I'll probably talk about that for a minute or something. HO BOY!