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It’s been a busy couple of weeks here in Raleigh, which is why we didn’t get a newsletter out last week, and also probably why I’m writing this right now on my couch, covered in a warm, fuzzy blanket, because I’ve called out sick from work the past two days. Being sick sucks, but if it was an unavoidable side effect of everything I’ve been up to, I’d say it was worth it.
First up, Will from To Live a Lie Records booked a hardcore show at RUMAH headlined by Dry Socket from Portland. Sadly, I missed the first band, but I got to see Natural End play a solid set of tough hardcore and MERC rip through a set of gnarly, old-school sounding power violence in the vein of Crossed Out. MERC had a unique sound, and I couldn’t figure out how they were generating it until I asked one of the band members. Turns out they’re a guitar-less band featuring one regular four-string bass and a Bass VI as the second set of strings. I’d never seen that setup before, and I really liked it… I know there’s a reason most bands use the same instrument setup, but I still like to hear folks fuck with the formula now and again. Dry Socket closed the night with a ripping set that got everyone moving. The band had a very dialed-in sound, a super tight performance, and their singer oozed charisma… I’d catch them if you have the opportunity.
Then on Sunday evening, Rigorous Institution rolled through Raleigh on their current tour. I booked this gig and hosted the band at my house, so my stress level was considerably higher for this one. This was the first gig I’d booked (or even been to) at a new venue in town called Cannonball Music Hall, and it worked out well I think. The environment is perhaps a little sterile because everything is so new, but they had great sound and the staff there did a great job making everything run like clockwork. Richmond’s Gnostics kicked off the night playing (if I remember correctly) their third show ever. Gnostics feature Rigorous Institution’s original guitarist Scully and have a similar neanderthal riffing style as the early Rigorous stuff, balanced out with a lot of atmosphere and some cool anarcho-inspired parts (I loved when their drummer joined in on vocals). Gnostics has a tape out soon on Roachleg Records, so watch out for that. Raleigh’s Paranoid Maniac played next and were on fire, ripping through a short set of their hyper-fast, left-of-center hardcore. I love it when a local band plays and you see all the touring musicians slowly gather in front of the stage as they realize how great the local band is. Hopefully we can get P Mane to play out more in the future. Then Rigorous closed the show and demolished everything. I was glad I booked this at a proper venue as the band sounded monstrous and their unique vocals popped just like they should. I’d seen Rigorous play a few years ago in Richmond, but on the tail end of a long-ish tour they sounded extremely tight and powerful. Like Gnostics, there’s a new Rigorous record coming soon on Roachleg that you need to watch out for… the Raleigh gig was actually the first tour date where the LP was for sale, since Sorry State is helping Roachleg with the distribution.
The show marathon continued on Monday with what was probably the main event for most people, Golpe’s long-awaited return to Raleigh. Plastique Pigs, a new Raleigh band whose name you’ve probably seen in the flyers section of the SSR newsletter over the past few months, opened the gig with their first set since Usman joined the band on drums. Usman hadn’t learned all the songs yet, so the set was quite short, but goddamn it ripped. I don’t think we’ve announced it anywhere, but Plastique Pigs have a demo tape coming out soon on Sorry State, and fans of hooky USHC like Government Warning need to watch out for that. Next up was my first set playing bass for Starving Bomb, and I think that went alright. We played the songs OK, though it’s tough for a three-piece to get the crowd revved up. One band that never has an issue revving up a crowd is Golpe, and they obliterated RUMAH that night. It took a song or two for everyone to loosen up, but before you knew it, bodies were flying and the venue was a sea of smiling faces, everyone reveling in what a great band we were seeing. Long live Golpe! If you have the chance to see them on this current US tour, please don’t miss it. Given the way the world is going, a return trip is not a given.
After 3 gigs in four days, I got a small respite before we had a big rager at my house for Usman’s 35th birthday. Invertebrates had a show in Asheville on Saturday night, and they kindly came down to NC a night early to celebrate Usman’s birthday. Our friends Marty and Terence also made the drive down from Richmond for the get-together. Music was blasted, the fire pit was lit, about 40 gazillion beers were consumed (I am responsible for exactly one of those LOL), and everyone had a great time. I think I slept until 3PM the next day though.
I haven’t had a ton of time to listen to records in the midst of all this partying and show-going… in fact, there are a bunch of new arrivals at Sorry State I’m eager to check out. But one LP I’ve put on a few times lately is my staff pick for this week:
Gary Numan: Telekon LP (1980, ATCO Records)
Since I’m an 80s baby, Gary Numan has been part of my world for as long as I can remember. But it wasn’t until the 2000s that I realized the depth of the world beyond “Cars.” The Tubeway Army stuff and The Pleasure Principle have been in regular rotation since then, but I’d never gotten around to checking out much of Gary’s post-Pleasure Principle material. A few weeks ago I picked up a copy of Telekon in some bargain bin or another, and then another few weeks went by until I pulled it out of my “to listen” pile and put it on the turntable. Something about it perfectly matched the mood of the fall weather we’ve been having in Raleigh, and I’ve spun it several times since.
When I read other people’s takes on Telekon online, the prevailing wisdom seems to be that Telekon presents a “more sophisticated” or “subtler” version of Gary Numan than the one we heard on The Pleasure Principle. I think that’s fair. It’s hard to put my finger on, but something about Telekon seems less in love with the sound of the synthesizer than The Pleasure Principle. The arrangements are more three-dimensional, instruments floating in and out of the mix slowly and gracefully. The songs seem less tethered to pop gestalt, taking on a novelistic quality that ebbs and flows and wanders in a way that feels very organic. Though maybe people just think it sounds more sophisticated because violins play what would otherwise be a synth melody on “The Joy Circuit.” It does sound a bit upper crust, I guess.
Even though Numan’s music is often described as cold or icy, like I said Telekon feels like perfect fall music. It’s so organic-sounding that a color palette of leaves changing to red and yellow feels like the perfect window dressing, and the way the album takes in so much seems right for a time of year when the seasons change before your eyes. Get yourself a warm blanket and a hot toddy, throw this one on, and see if you agree.