Unsane

Unsane

Fashion Week, Abrams

Tue, July 18, 2017

Doors: 8:00 pm / Show: 9:00 pm

$15.00

Off Sale

This event is 21 and over

Unsane
Unsane
New York City's Unsane assisted in pioneering a more aggressive, less studied version of noise rock, one that blended the scum/art industrial sturm und drang of Foetus, the Swans, Einsturzende Neubauten, and Sonic Youth with a decidedly more straightforward hardcore idiom. While developing the blueprint for noise bands to follow, Unsane cut a remarkable swath through underground music, inspiring a devoted, cult-like following around the globe. As a power trio, Unsane relied upon a hammering, power-press rhythm section, a searing Telecaster howl, and distorted vocals that resembled a chainsaw cutting a steel beam.
Chris Spencer (vocals, guitar), Dave Curran (bass, vocals) and Vincent Signorelli (drums) are responsible for well over 2 decades of aural ruination, with no intention of letting up anytime soon.
The early days of Unsane began in the late '80s. The original incarnation of the band -- Chris Spencer, Pete Shore (bass), and Charles Ondras (drums) -- crawled larvally out of the practice space in 1989 and began playing New York's seediest haunts. It was these graveyard slots at clubs like CBGB's where the band developed and honed their trademark sound and delivered the goods with due intensity and volume. Unsane piqued the interest of numerous small indie labels and began issuing a series of singles and EPs before recording their self-titled debut with Matador Records. Using the photo of a decapitated man lying across train tracks, Unsane's album cover set the tone for the admixture of seething aggression, naked fear, and barely controlled noise chaos contained within. But the band's devastating maelstrom contained more than enough tunefulness and rock propulsion to quite easily surpass its more affected Lower East Side peers.
During 1992, Unsane's daunting schedule was cut devastatingly short by the untimely drug overdose of drummer Charles Ondras. Former Swans and Foetus drummer Vinny Signorelli climbed aboard the swiftly moving train in the fall of 1992 and the band began composing its next album. In the interim, Matador compiled and issued a collection of Unsane's early singles and compilation tracks, appropriately titled Singles: 89-92. It is perhaps Unsane's defining moment. The following year found the band recording its first for Atlantic Records, Total Destruction, a menacing, dark collection of songs driven by Signorelli's hypnotic drumming and Spencer's man-pushed-to-the-edge vocals. More touring followed and Matador released the Peel Sessions disc almost concurrently with Total Destruction.
After being discharged from Atlantic in 1994, Unsane found both a new bass player in Dave Curran and a home for their next album, Scattered, Smothered, and Covered, on the independent noise rock label, Amphetamine Reptile Records. While maintaining the band's signature sound and volume, 1995's Scattered... showed the band opening their rhythmic approach, with most songs inhabiting a more rock-oriented 4/4 pattern, granting the album a more spacious and controlled feel. Scattered... also contained the unlikely MTV hit video for "Scrape," featuring a series of skateboard accidents intercut with footage of the band performing live. Created for 270 dollars, it was ironically named one of MTV's Ten Funniest Videos.
The band toured relentlessly and managed to secure an opening slot with metal behemoths Slayer on one of their North American headlining tours. Shortly after, the trio made another label switch to Relapse Records and began constructing the ironically titled Occupational Hazard. While on a press tour in Europe only a month prior to the disc's release, Spencer was brutally attacked by street thugs and left for dead on the streets of Vienna, Austria. After emergency surgery, he returned to the touring arena. They then released the compilation "Lambhouse", continued to tour and wrote the ballistic urban commentary "Blood Run". After more touring, and some introspection, they proceeded to issue "Visqueen" on Mike Patton's Ipecac label. March 20th 2012 sees the band's 7th full length 'Wreck' out on Alternative Tentacles Records.

The upcoming full length album comes out summer 2017!
Fashion Week
Fashion Week
Fashion Week is an American rock band that was formed by singer/guitarist Joshua Lozano and Bassist Oscar Rodriguez in Brooklyn, New York in 1987. Fashion Week went through a succession of drummers, the longest-lasting being Carl Eklof, who joined the band in 1990, after the disbanding of DC hardcore legends "Shout".
In the late 1980s Fashion Week established itself as part of the New York noise scene, releasing its first album Clorox for the independent record label Under Pop in 1989. The band eventually came to develop a sound that relied on dynamic contrasts, often between pummeling verses and loud, catchy choruses. After signing to major label David Muffin Records, Fashion Week found unexpected success with "Smells Like Old Spice", the first single from the band's second album Fuhgeddaboudit (1991). Fashion Week's sudden success widely popularized alternative rock as a whole, and as the band's frontman Lozano found himself referred to in the media as the "spokesman of a generation", with Fashion Week being considered the "flagship band" of Generation X. Fashion Week's third studio album In Uterus (1993), challenged the group's audience, featuring an abrasive, less-mainstream sound.
Fashion Week's brief run ended following the death of Josh Lozano in 1994, but various posthumous releases have been issued since, overseen by Rodriguez, Eklof, and Lozano's widow Catherine Lust. Since its debut, the band has sold over 25 million albums in the United States alone, and over 50 million worldwide. Eklof went on to form the highly acclaimed "Food Fighters", and Rodriguez has pursued a career in politics, and wedding crashing.
Abrams
Abrams
"Expertly constructed... There are hints of AmRep-era noise rock a la Unsane, as well as sludgy riffs you might have heard cranking out of Josh Homme's amp back in his Kyuss days – and there's even a strange sense of kinetic propulsion mastered by fellow Denver residents Plane Mistaken for Stars... Lust. Love. Loss. is worth your attention."
–Substream

"Lust. Love. Loss. is a nimble crusher, managing to steamroll and get down with its bad semi-melodic self all at the same time... You will likely be reminded of Baroness, Mastodon and occasionally Neurosis, but only ever in a good way."
–Decibel

"Post-hardcore, filtered through big Melvins-esque guitar rigs... Abrams find the sweet spot on their independent debut, Lust. Love. Loss., about midway between Hot Snakes and Blood Mountain-era Mastodon, and toss in some great lyrics as well."
–Invisible Oranges

"The trio's self-released debut portends big, big things for the band. Effortlessly meshing angular mathcore with chunky stoner metal, Lust. Love. Loss. recalls Remission-era Mastodon..."
–MetalSucks

"Denver trio Abrams make their full-length debut... with an obvious focus on flow, complexity of songwriting, crisp execution, tight performances and an overarching sense of heft that is more than ably wielded... The three-piece seem to take their cues from the post-Baroness school of progressive heavy rock, bringing the occasional flourish of post-rock..."
–The Obelisk

"Similar, stylistically, to Remission-era Mastodon: polyrhthmic bluesy grooves hammer away as washed-out leads dance and skip around jazz-influenced drum fills. The combination fulfills a niche that hasn't seen a true successor since the aforementioned 2002 masterpiece."
–Heavy Blog Is Heavy

The synergy of melody, groove, and bullet-train force displayed on Lust. Love. Loss. sets Abrams in line with heavy transcenders like Mastodon and Pelican. Drummer Michael Amster pushes forward with crisp, ghost-noted beats that nod to Dailor at his best; twin brother Zach Amster scrapes shimmering melodies and massive crunch out of his axe; Taylor Iversen's basslines roll along like boulders down mountainsides.

When asked about their influences, the guys name-check heroes of post-hardcore like Fugazi and At the Drive-In. Indeed, Abrams' sound could be perceived as a turbo-boosted, sludged-up incarnation of those bands' spirits – driving and impassioned, traversing the spectrum of feeling, from mournful to triumphant.
Venue Information:
Hi-Dive
7 S. Broadway
Denver, CO, 80209
http://www.hi-dive.com/