New York – The recent BestNewBands.com Presents showcase was an impressive reflection of the grittier, noisier side of the city, with GHXST, Ceramics, Maquina Supervium, and Skull Practitioners all with their own distinct takes on rock in the local scene. Now that we’re also into the cold and rainy purgatory of Spring, it was also a great night to gather and be immersed in one of the most important reasons for why music needs to exist: it’s ability to act as an outlet for frustration, pent up energy, whatever emotion that needs to find it’s way out with some understanding. Also, every band was a three-piece, just to enhance the mania even more.
Doom grunge noise rock three-piece GHXST was the pinnacle of the darker side of the city and the psyche, playing under dim red lights and grinding out tracks like “Dead Town.” Vocalist and guitarist Shelley X had her guitar slung way low, gripped the mic with intensity, and had a voice that was both empty and urgent, like an undead soul burning to be heard. With their headlining set, GHXST took us deep into the night and down the rabbit hole, topping off the showcase with a hardcore dose of devilish rapture.
Ceramics reminds me of every 90s band I ever loved. Not because they sound nostalgic, but because they sound current, with that same energy that gets you pumped about living in the moment. That kind of bounce off the walls, post-punk garage noise rock that’s the most fun to jump around to. Their opening to “Paid Out” is such a hook, that I had already listened to that song so many times in the week or two leading up to the show that I could sing all the words like their biggest fangirl. Really, every song on their It’s Funny Because You’re Not Even Real five-track album has such familiarity to it that just immediately translates in my brain as what’s right about music in Brooklyn right now. Hearing and seeing it all live translated that good carefree feeling even more.
Maquina Supervium was more mid-tempo, but just as visceral in an impressionistic, filmic way much like Yo La Tengo’s Summer Sun. With two guitars and drums, the band kept an even, textured pace with floating vocals and bending guitar solos, like on “Far Away,” the type of tune that does lead your mind deeper into a reverbed reality. Much like their name translates, the band played through their post power chord songs like a fine machine, and at the end of their set elevated the cloud of reverberating noise by turning all their pedals and effects up for a grand finale.
I feel like I found a sparkling gem in the wreckage of a largely oversaturated music scene with Skull Practitioners, and live is where they shine the brightest. Their opening set was mind-blowingly beautiful, with the guitarist going on a spiritual journey with those solos he was ripping out, and drummer Alex Baker punctuating his vocals much like his beats. These guys could rock out but also tether the songs tight enough to withstand on-a-dime volume and tempo changes, and keep the compositions alive and swirling in this highly electric sonic vortex the three members created. These guys are really talented, and they’ve also got the right mindset. Cop that tape.
Photos: GHXST by Bryan Delagarza – Maquina Supervium photos by Kelly Knapp
