rws + bottom of the hill present“MIKEY’S 45TH BIRTHDAY BANGER”—SUMACWHITE BOY SCREAMGRAVE INFESTATION—Doors 8:00pm / Show 8:30pm$20 Advance / $22 Door—BOTTOM OF THE HILL1233 Seventeenth St, SF • 21+SUMAC—SUMAC is the powerhouse trio of Aaron Turner (Isis, Old Man Gloom,Mamiffer), Nick Yacyshyn (Baptists), and Brian Cook (Russian Circles, These Arms Are Snakes). SUMAC invests in the recursive exercises of chaos and control, and the results are a testament to the tour-honed collective intuition and technical skills of these veteran playersWHITE BOY SCREAM—The desert stretches for miles behind the San Gabriel mountains where vocalist and composer Micaela Tobin was raised...
read more
rws + bottom of the hill present“MIKEY’S 45TH BIRTHDAY BANGER”—SUMACWHITE BOY SCREAMGRAVE INFESTATION—Doors 8:00pm / Show 8:30pm$20 Advance / $22 Door—BOTTOM OF THE HILL1233 Seventeenth St, SF • 21+SUMAC—SUMAC is the powerhouse trio of Aaron Turner (Isis, Old Man Gloom,Mamiffer), Nick Yacyshyn (Baptists), and Brian Cook (Russian Circles, These Arms Are Snakes). SUMAC invests in the recursive exercises of chaos and control, and the results are a testament to the tour-honed collective intuition and technical skills of these veteran playersWHITE BOY SCREAM—The desert stretches for miles behind the San Gabriel mountains where vocalist and composer Micaela Tobin was raised. Warmth and beauty are beset by vulnerability and harshness. A similar dichotomy plays out within the music of White Boy Scream, a conduit for Micaela’s visceral storytelling. Her operatically-trained voice is resonant, large like the peaks over her Los Angeles home, her electronic compositions as bleak and bright as the open expanses beyond. As The New Yorker observed, “She demands to be seen and heard for who she is:” ritualistic, communal, reverent, familial, singular. Empowered. The patriarchal confines of both the opera and noise worlds were quickly apparent during her prestigious training; if Micaela was to have a place in music, she’d need to carve it herself. This is most actualized with her fourth release, Bakunawa (Deathbomb Arc, 2020), on which she not only intentionally combines her seductive incantations with biting industrial extremities, but pointedly incorporates a deep-dive into her heritage. Musically, Micaela carries a lineage started by the likes of Diamanda Galas and Scott Walker; compositionally, a deeper through-line is continued with her Filipino ancestors, from whom she received the album’s mythological and romantic themes. As her label explains: “Her voice is so unique that she’s defining for listeners what it means to create the sound of these ideas.”GRAVE INFESTATION—Alas, as doom enveloped the earth, GRAVE INFESTATION was lurking in wait, brewing their full-length debut. And it arrives with the force of a nuclear payload in the form of Persecution of the Living. Reprising a couple re-recorded songs from the preceding demo, the presciently titled Persecution of the Living wastes no fucking time in getting in and absolutely flaying the listener alive. The foundation remains much the same - from the malignant tendrils Morbid Angel cast across the Tampa scene to the buzzsaw bulldoze of the contemporaneous Swedish scene, the ancient foundation of Necrovore, Repulsion, and Sadistic Intent to Carcass' godly first two albums - but GRAVE INFESTATION exhibit a frightening clarity in their jackhammering attack. Some could call it a "clean(er)" iteration of their strident sound; others might view that cauldron with focus and finesse, as eerie melodies occasionally bubble up from the muck; but whatever tag you put on it, Persecution of the Living represents a professional-yet-powerful statement to the wider metal world. Darkness, death, DOOM: herald the grand arrival of GRAVE INFESTATION!
show less
