Jessica93 + Black Salvation / Nürnberg, Z-Bau
Am 30.01.2019 ab 20:00
Bis 30.12.2018 23:00
French one man project Jessica93 is a powerful and emotional force of hypnotic loops, grungy riffs and cold beats, all wrapped up in an impressive sense of delicate and to-the-point song writing.
Even Paris, the city of love, hosts its bleak and dingy suburbs. With the promise of magic so close within one's reach, the lack of it becomes even more evident. In the midst of this space of hope turned disappointment, Geoff LaPorte goes on an escapist trip and takes on the moniker of Jessica93. Where others see beauty, he sees the rats. But Jessica is the coolest chick in class. She's desirable and she has ability to transcend the mundane reality of Paris' dirty streets. Or at least she tries. Jessica stands for all that we wish to be, but can't. Instead, let's embrace the dark humour of the universe. After all, it's not for nothing Jessica93's 2013 debut is called "Who cares", with a picture of a bag of crack cocaine on the cover.
As one man playing all instruments, along with a trusty drum machine; Jessica93 builds his music with layers - balancing the raw and minimalist with a trippy warmth. This sense of dream and romance is present in all his songs, sometimes numbed in an opiate high, sometimes as matter-of-fact melancholia. This isn't some pedal-fest without substance, or, for that matter, a total downer - some of those beats sounds like John Bonham trapped inside an ice box, and the groove is undeniable. Something wants to reach out for sure, and on stage this part-shoegaze-part-grunge-part-cold-wave operation of one does just that: reaches out and goes for the stars. It might all get buried in a heap of dirty clothes once back on earth, but still.
Using very little to achieve a lot - Jessica93 goes straight to the core of every aspect of his music - illuminating a brilliant song writer in the process. Nothing to hide, nothing to lose.
Exploding into a thousand shards of awesome at the unlikely nexus of heavy metal, post-punk, protest rock, krautrock, and traditional rhythm & blues, Germany-based BLACK SALVATION----are obviously not playing by conventional rules. Not in the way they approach their unique brand of psychedelic hard rock. Not in the DIY way they recorded new album, Uncertainty is Bliss. And certainly not as composers and actors in the Max-Ophüls-Preis-nominated short-film Wald. While safe thinkers covet and cradle known tenets,BLACK SALVATION are blasting fantastic between unknown of inner and outer worlds of rockdom.
Formed in Leipzig in 2009 by Paul Schlesier, BLACK SALVATION's early years pivoted on jamming gritty dirges, à la Electric Wizard, and elongated, repetition-based space-outs. Over the next few years, the Germans, with bassist Birger Schwidop and drummer Christian Seitz in tow, honed their craft and assisted in the foundation of Into Endless Chaos (IEC), a DIY organization of Leipzig-based counter-culture musicians and artists. Confident in their heavy wander and galvanized by their IEC interactions, BLACK SALVATION released their debut album, In Deep Circles, without label support in 2014. Praised equally for its riff-based rockers ('Reveal the Night' and 'Black Spell') and lava lamp runs ('Silent Magic Spring' and 'The Devil sent us an Angel'), In Deep Circles illustrated BLACK SALVATION were crafty, adventurous songwriters with designs on rocking stranger things the hard way.
For new album Uncertainty is Bliss, Schlesier and Schwidop wrote together--drummer Seitz had already exited. Finding capable drummers was relatively easy, but getting the right fit, both musically and philosophically, proved to be a challenge. So, Schlesier and Schwidop kept BLACK SALVATION's newest odes to the uncharted simple but imaginative. The result was a puzzle of drums, overdubbed bass, fuzzy yet nimble guitar, and Schlesier's baritone vocals. The glint of genius in the early versions of 'In a Casket's Ride,' 'Leair,' 'A Direction is Futile,' and 'Floating Torpid' was all too real, but BLACK SALVATION needed the right drummer--a skinsman with significant swing and a sizable attitude--to send them into the stratosphere. Enter Uno Bruniusson.
With Bruniusson behind the kit and the vibes at 11, BLACK SALVATION wasted little time--a week, basically--before entering an unnamed rehearsal room (not a studio proper) to track Uncertainty is Bliss. They had as long as they needed, but environmentally it wasn't the best place to record a trans-genre, beyond-space masterpiece. For eight days, BLACK SALVATION fought the confines of the rehearsal room. But between high-end mics and a vintage, if temperamental 8-track Fostex tape machine, they emerged with a modern-day gem of psychedelic hard rock madness. The songs were eventually transferred to computer, where the finishing touches--overdubs and vocals--were constructed for mixing and mastering aces Martin "Konie" Ehrencrona (Tribulation, In Solitude) and Pieter Kloos (SunO))), The Devil's Blood).
Songs like 'Getting Slowly Lost,' 'Breathing Hands,' 'Grey River,' and the short but filmic instrumental 'The Eye That Breathes'--as well as the other four previously named songs--transcend today and yesterday. They're tumultuous, pensive, rebellious, noisy, and perfectly imprecise hard rock tunes for otherworldly enjoyment.
So, the adage isn't true. Bands do make hard rock like they used to. BLACK SALVATION's Uncertainty is Bliss is psychedelic hard rock for all.
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