Classic folk influences run clear through Wauters’ sound with the slightest touch of 60‘s experimental. It’s easy to picture Wauters making visits to a local branch, plucking classic albums from the racks of what certainly isn’t Pitchfork’s best new music. After joining his father in New York and living without friends in the city for some time, Wauters discovered his musical calling with the help of his library card. The Uruguayan transplant sure has a story. Juan Wauters followed the openers with a totally different tune. I caught Gala smiling at Marrett at during a later song, as the long haired bassist thumped away, Gala looked on with a grin. They were also extremely friendly on stage, thanking the headliners and making it known to the crowd how happy they were to be playing. Equally garage and psych rock, this five-piece was a perfect fit to set the night arockin’. All this while Dom Mariano pounded ferociously at his set, sometimes standing up slightly from his throne to bring down muscle on snare. From Spenser Gala’s face-melting solos, to Joe Marrett’s spooky backing vocals, to Noah Bond’s way with rhythmic guitar, the band has sound on lock. In just two years the band has built a sound so driving, so empowering and so completely kickass. New work was present somewhere between a knock of opening fuzz and final depluming “The Mole,” when the band gave listeners “The Master’s Dope,” Popsicle’s title track and serious head bobbing tune. To make their night even more noteworthy, the show marked the band’s first performance after releasing, Popsicle, an album dropped just hours before these rockers made their way to the venue. Though a short set, the band managed to pack in a serious punch in roughly five songs, starting their jam with a raucous “James Days’ Milkshake” off 2012’s SWAMP THINGG. Blood moons, and shows like these, are still a rare bird to me.ĬreaturoS kicked off the night, and boy, did they kick. And though CreaturoS frontman Spenser Gala later told the crowd he’d seen a lot of those eerie moons lately and turned my metaphor sour, I can’t help but consider the grand scheme of nighttimes. CreaturoS, Juan Wauters, King Gizzard & the Lizard Wizard and White Fence! The night was as unique as a blood moon. Tuesday at Great Scott was one of those shows. Sometimes, though rarer than we’d like, we see shows that hold our attention from start to finish. It was the most memorable part of his performance.īut sometimes we get lucky. By his last note he’d dripped enough snot to the ground to secure a six inch puddle in front of him. He’d spent his set kneeling on the floor with his back to the audience. Once, at a house show, I sat through thirty minutes of monotone synth performed by a guy with a serious nasal drip. Other shows have us agonizing over a blasé second set before finally seeing a favorite enter the spotlight. Sometimes we head to a venue to see an opener, only to leave before the night’s main act. It seems that for most shows, the lineup isn’t always completely favorable.
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