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Archive for the ‘Underground Arts’ Category

[DID NOT ATTEND: August 23, 2026] Faetooth / Latter / Bosses

I didn’t know Faetooth at all, but I saw that they were opening for Die Spitz in October and headlining this show in August.  I didn’t really think about going to this because I figured I’d see them with Die Spitz.  Then my friend Max said that a bunch of them were going to see the show, so I investigated more.  I couldn’t go, but it got me more excited to check out Faetooth, whom they said were really good.  The band describes themselves as a fairy-dOoM trio from los angeles.  The group is composed of Ari May as guitarist and vocalist, Jenna Garcia as bassist and vocalist, and Rah Kanan on drums and have been around since 2019.

Latter was the middle band and Max said they enjoyed them even more than Faetooth.  I’m listening to their (shirt) album now and it’s really cool.  Slow but intense.  Heavy and intense.  LATTER is a Chicago-based experimental noise rock project formed by Jon Alvarado and Meredith Haines, known for dynamic live performances.  Haine’s vocals are screamed in a way that I really like–clear but raw.

Bosses are also from Chicago.  Originally conceived as a solo project by singer and guitarist Harlee Young, Bosses is now a five-piece featuring erstwhile members of Old Coke and Dead Sun.  Their bio says the group takes influence from grunge, shoegaze and early 2000s alt rock. Layering melodic, ambient leads over distorted rhythms, bosses creates a sound that is heavy, atmospheric, and highly emotional.

Sounds like a great night.

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[DID NOT ATTEND: July 23, 2026] Man Man / Death Valley Girls

I was so excited to get a ticket for this Man Man show.  I was certain it would sell out in a second, so I bought a ticket for this show while on an airplane to Minnesota.  It didn’t sell out (weird) but I was still looking forward to this show so very much as Man Man never disappoints.

I arrived in Philly, found a good parking spot and then realized that I left my wallet in the pizza place that I stopped in on the way to Philly.  And that pizza place is about 40 minutes away.  I called the place and they had found it.  Phew.

I thought, well, I don’t need my wallet to enjoy the show.  I asked my son to go get it for me (so nice of him).  And then I went to use the parking app.  Only to remember that the card I used for the parking app had been cancelled because someone had hacked my account a few weeks ago.  And for whatever reason, the other card on my account wouldn’t work.  I couldn’t add a new card because I didn’t have my wallet.

I stood there for 20 minutes trying to get a card added (going into different apps to get a card number and failing).  Finally, I gave up.  I didn’t want to get a 60 dollar parking ticket.  I realized too late I could have just asked my son to give me his card number.  But I was frustrated and annoyed.  And so I gave up.  I decided to just get my card so my son didn’t have to.  He was about half way to the pizza place, but I told him to turn around and enjoy the night.  I got to the pizza place just before it closed and wound up having a nice night at home.

But dammit.

Dammit.

I saw Death Valley Girls open for The Distillers back in 2019.  They’re sort of a fuzzy rock band with goth leanings.  The goth leaning come primarily from their look and their lyrics–not their sound.  I forgot how good their show was. Now I’m even more bummed that I was a block away form the show but couldn’t go.

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[DID NOT ATTEND: June 10, 2026] Deer Tick / Jobi Riccio

There are three Deer bands on my radar.  And I can never remember which one is which because I don’t really listen to them all that much.

There’s Deerhunter, the creation of Bradford Cox who played artpop and psych pop.  I liked them a bit but never got really into them.

There’s Deerhoof, a wacky band from San Francisco featuring drummer Greg Saunier, bassist and singer Satomi Matsuzaki, and guitarists John Dieterich and Ed Rodriguez.  Matsuzaki has a high pitched and very distinctive style of singing I would like to see them live.

And then there’s Deer Tick.  They’ve been around since 2004 and are the most conventional of the three.   They fall into the Americana side of alt folk rock.  I listened to a song to see if I wanted to go and realized I didn’t.

So, basically I really only need to pay attention to Deerhoof going forward.

Jobi Riccio is from Colorado.  While posting about all of these singers that I’ve never heard of, I’m getting a real kick out of how intense and potentially insane all of the bios of these people are:

Jobi Riccio grew up surrounded by music and found inspiration in artists ranging from Sheryl Crow to Joni Mitchell. Sonically, Jobi’s music exists between worlds, melding the classic craftsmanship of her songwriting with modern indie-leaning production to forge a lush, expansive sound that feels traditional and experimental all at once.

I listened to a couple of songs and I have to say of all the young folk and folk adjacent women I’ve listened to recently, I like her the best.  Her voice is big and powerful–not mumbly like so many other new singers.  And she throws some interesting chord progressions into her songs.  I’d happily see her if she opened for someone I liked.  She veers toward country, but only slightly.

I also wonder if she was named for the character in Elf, since no one was every named Joby before that movie.

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[ATTENDED: May 27, 2026] Witch Club Satan

I found out about Witch Club Satan last year.  I’m not sure how I stumbled upon them (maybe Instagram?)  Anyhow,  I was immediately struck by the band:  three Norwegian women in corpse paint singing black metal.  And they were great.  They sang about different subjects (for black metal) and they were fearless.  They had great screams and were completely intense.

I didn’t really think they’d come to the States since they seem pretty niche, and yet, soon enough it was announced they were coming to the States for the first time, bring their tour: Founding of the North American Coven.  And they were coming to Underground Arts.  I grabbed a ticket immediately since I never know if shows like this will sell out.  It didn’t and I was able to invite my son along and grab a ticket day before.  He’s technically not allowed in Underground Arts yet (it’s 21+) but evidently, as long as I let them know ahead of time and follow some basic rules, he was allowed to come along.

He loved the venue (it is very cool) and he loved Witch Club Satan (Penelope Trappes not so much).  Actually, we were both blown away by Witch Club Satan.

The lights went down and they started playing a deep, synthy chord It went on for a few minutes (too long, tbh), but I think they were still setting up because shortly after, the band walked from behind the stage, holding incense.  They walked through the crowd, slowly, making eye contact with everyone nearby.  It was so impressive and the crowd was rapt.

When they arrived on stage lead singer and guitarist Nix (Nikoline Spjelkavik) welcomed us to the coven and they launched into Hysteria.  It was amazing seeing them up close.  The three women wear corpse paint and have blackened eyes and markings.  And from this distance it was easy to see that they blackened their teeth as well.  For the first couple of songs they wore knitted sweaters with openings for their breasts, as well as knitted horned headgear. Nix invited everyone to dance or take their tops off.

Bassist and singer Hedda (who is filling in for Victoria Røising who just had a baby!) was awesome.  She also sang and used a violin bow and a sword on her bass.

The songs are black metal–heavy, short, fast and growled.  I wished I had listened to their music a bit more just so I knew what was happening.  I was able to take a photo of the setlist before they came out so I knew what they were playing, but there were some notes on the page that made things a little unclear.  And after Water Girl, all three women came to the front of the stage to sing the mournful Mother Sea, a completely non black metal story/song that was really intense.

After the song they left the stage and showed a video on the stage.  A few minutes later they returned wearing nothing except for floor-length black wigs (and flesh-colored underpants).  They stood on stage and proceeded to spit blood on the stage and into the crowd (I got some on my glasses!).  Nix leaned into the crowd and whispered into the ear of the woman near me–wonder what she said.

For the intro of Black Metal is Krig, Nix shouted out that there would be no mercy for the mercyless–not for the warmongers, not for Netanyahu.  For the final song of this section, Mother, the three women came to the front of the stage again and they sang/screamed the word Mother (hearing their drummer Johanna Holt Kleive–who did sing occasionally) scream the word Mother in a high pitched wail sent chills up my spine).

They returned for the third part of the set in new outfits–denim and sequined, um, torn headgear and clothing.  They looked insane, and being able to see Nix’s eyes through this mask was really creepy–especially as she made eye contact with everyone.  For You Wildflower, Hedda walked into the crowd and shouted the intro to everyone and people individually

You don’t give up, you don’t give up
The sky shivers, you don’t give up
The ground breaks, the heart aches (Motherfuckers)
The heart aches, the heart aches
They keep lying, they keep lying
The dictators, the small dicks
You keep pushing, you keep pushing (Motherfuckers)
You keep pushing
You keep breathing, you keep breathing
The sun’s shining on your resistance
You keep fighting, you keep fighting
You show up, you keep fighting
You wildflower

It was awesome.  Their “single” Fresh Blood, Fresh Pussy” is certainly catchy and it sounded great.  And then for Witchcraft Techno, Nix crowd surfed (despite being mostly naked) and was safely transported to the stage.  Before the last song, she told us that we reminded her of Norway which was both good and bad.  We were very polite but we were also very uptight and se wanted to see people dance with them.  I was (pleasantly) surprised that there had not been a mosh put up to this point.  I think all eyes were on the stage instead of thinking about dancing.  But the crowd did oblige for the final song and a pit was started.

And that was that.  Their set was about an hour and it was exhausting.  I’m so glad I bought a shirt before the show, but I do regret not buying the tour vinyl of their album.  And, if by any chance, they played nearby again, I would see them in a second.

  • Intro
  • Hysteria
  • Wild Whores
  • Water Girl
  • Mother Sea
  • I Was Made By Fire
  • Black Metal is Krig
  • Salvation
  • Mother
  • You Wildflower ®
  • Fresh Blood, Fresh Pussy
  • Witchcraft Techno
  • Solace Sisters §

® single (2025)
∇ Witch Club Satan (2025)
§ single (2022)

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[ATTENDED: May 27, 2026] Penelope Trappes

I found out about Witch Club Satan last year.  I was immediately struck by the band:  three Norwegian women in corpse paint singing black metal.  And they were great. I didn’t really think they’d come to the States since they seem pretty niche, and yet, soon enough it was announced they were coming to the States for the first time.  I grabbed a ticket immediately

I didn’t know Penelope Trappes before this show.  I listened to a few minutes of a song and got the idea that she was a kind of ambient singer.

She came out on stage with a bow tied around her head with the ends raised above her head like horns or rabbit ears.  She had an electronics board and proceeded to make ambient sounds on it.  She is Australian, but lives in England.  She did say Fuck Ice, which–yes indeed!–but is she here long enough to know about ICE?   I don’t know how much international attention they are getting.  But she was immediately on our side after saying it.

She sang, often sounds, sometimes words.  The first song (I honestly don’t know if she was playing a song, multiple songs, or improvising) lasted about 20 minutes.  I only say this because that’s when she said thank you.  There were lots of changes throughout the 20 minutes and they could have been different songs but there’s no way to tell–her latest album is about 45 minutes and it’s possible she was playing the whole thing, but again, I don’t know.

Correction, I recalled a few words when she sang, and “violent hope” was one of the phrases. It’s from “Red Dove” which comes about half way through A Requiem.  It also featured synths ala Philip Glass which  rather liked. (more…)

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[DID NOT ATTEND: May 21, 2026] Oranssi Pazuzu / Wayfarer

I had not heard of Oranssi Pazuzu until about a week ago.  I’m not even sure what made me look into a band with a name like this.  But as soon as I saw that they were a Finnish psychedelic black metal band I had to see what they were all about.

And they are an interesting proposition.  The music definitely gets heavy, but there are lots of gentle samples (flute perhaps?) through some of the quieter more psychedelic moments.  My only complaint is the black metal component because the singer more or less growls quietly (presumably in Finnish) over the music.   Musically, though, I’m really intrigued by them.  Because I didn’t know enough about them, and because I already had tickets to see Black Angels, I didn’t really look into them very closely.  But having sat with them a bit and listened to them a but more, I think this would have been the better choice, especially since they haven’t toured the US in 7 years and presumably won’t be back for a long while, if ever.

Wayfarer is Denver’s gothic country-infused black metal band.  They have an interesting aesthetic (black metal, with sludge, with death metal, heated to a boil on the scorching stones of the Rockies) and I like their musical components, but once again the singer is a deep cookie monster type singer–yes, black metal, I know–but as a person who likes lyrics, it’s hard to get into a song when you just can’t understand what the singer is doing.  This is another band I think I’d probably enjoy live more because I could focus on the music rather than the words.

I enjoyed the Black Angels show, but yea, this might have been the better choice.

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[DID NOT ATTEND: May 14, 2026] Ghostface Killah / ZekeUltra / J the Audiophile / Dell P

It was unlikely that I’d go to a Ghostface Killah concert, but he’s a member of Wu-Tang and it would be interesting to see one of them live.  And in Underground Arts.

I had talked to my physical therapist about this show and he told me that he had seen Ghostface and that he was boring live.  And really that’s all I needed to hear to know that I wasn’t going to go.

ZekeUltra is a young low key rapper.  Kind of mumbly but you can understand him.  His new album is full of songs that are less than 2 minutes long.  After having seen this kind of performer with Earl Sweatshirt, I can tell I wouldn’t have enjoyed this.

J the audiophile is a hip hop, soul, electronic dance music, disco, and funk DJ, music producer, and all around vinyl enthusiast living large in the City.  He is dedicated to the preservation of vinyl culture in Philadelphia.  He has some albums out.  I think they’re all instrumental with spoken samples.  I guess for a live show he would be spinning, but I don’t know if it would be his own stuff or just DJing.  But I love the retro vibe he’s playing.

Dell-P is a Philly rapper who has nice old school flow–aggressive and clear–with catchy choruses.

Even though I didn’t want to see the first two, J the audiophile and Dell-P are pretty great.

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[DID NOT ATTEND: May 7, 2026] The Lemon Twigs / Josephine Network

I wrote this two years ago:

I discovered The Lemon Twigs a few years ago and really enjoyed their glam rock sound and I imagined that they would be a ton of fun live.  The band is technically a duo, although they have more people on stage with them.  I keep managing to not see them though.

I believe that this is the fifth or sixth time that I haven’t seen them.  I did finally get to see them open for Car Seat Headrest but I’d really like to see them headline.  Maybe one of these days.

Josephine Network  is the project of NY singer/songwriter and musician Josephine. Her music has a very retro feel–glammy and poppy.  A very 70s vibe with soft vocals and harmonies.  I don’t really like them, but they sound like they’d be a perfect opener for the retro Lemon Twigs.

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[ATTENDED: April 20, 2026] Pallbearer

I saw I had heard of Pallbearer but didn’t really know all that much about them.  I assumed they were a really heavy growling type of band.  So when Knoll announced that they were opening for them, I checked them out, enjoyed them and bought a ticket to the show.

It turns out that they are a doom metal band and the album that they were touring, Foundations of Burden, is a classic of the genre.

I had enjoyed the first two bands but when Knoll was done, a whole bunch of guys rushed to the stage.  One of them was actually a guy I’ve seen at a couple of shows recently (MMJ and Band of Horses–he even looks a bit like Jim James).  He is a massive headbanger (headbanging to Band of Horses!).  So he was finally in his element and he knew this album really well. There were a bunch of guys together who knew each other and they were all headbangers and fist pumpers.  And  while it was all harmless, I didn’t enjoy the vibe.

And when the band started I realized the real problem for me.  I was standing right in front of Brett Campbell’s guitar amps.  And it was LOUD!  So when he stepped up to the microphone and I literally couldn’t hear him I wasn’t too happy.  Later on, bassist Joseph D. Rowland sang another part and I couldn’t hear him either.

By the third song, when Devin Holt played a solo and I could hear it until Campbell started playing his guitar, I knew I had to move.

So the album has 6 songs which meant I was already half way through.  But I just wasn’t really enjoying myself.  So I left the front and headed toward the back.  And things were much better back there.  The sound was phenomenal–balanced perfectly and still loud as anything.  Mark Lierly was on drums with a fairly small kit net to the wall of amps–but he was certainly loud enough. (more…)

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[ATTENDED: April 20, 2026] Knoll

I saw Knoll open for Agriculture three months ago.  Then I saw that they were returning in three months to open for Pallbearer.  And they are the reason I went to this show (and why I listened to Pallbearer for the first time).

Knoll’s show in January was just mind blowing–intense and wild and loud and a little scary.  And I really wanted to see them again.  Last time I was in front of guitarist Cameron Giarraputo, so this time I wanted to experience it from the other side of the stage in front of Ryan Cook guitarist and trumpet (!) player.

What did I write three months ago?

I have seen a lot of extreme bands, but there’s nothing to prepare you for this.

And the show was largely the same.  Possibly the same songs, but it’s kind of hard to tell.  So I’ll quote from myself a bunch.

Knoll set up their gear.  They had an old-looking end table (I would guess like 100 years old, with all kinds of filigree–but probably not worth anything) and interesting gear on it.  The table also had a little light on it and there were four floor lamps around the stage.

This time I watched as singer Jamie Eubanks asked them to cut all of the lights.

These lights were the only things that lit the stage!  And, most interesting of all, each band member had a step on plug which turned their individual light on and off throughout the show.

All five members of the band were dressed in all black–button down shirts and black pants.  And the lead singer, James Eubanks, has his head shaved, (possibly his eyebrows), his fingernails shaped into points.  He looks like Nosferatu.

Last time I noted that Giarraputo was like a machine with the speed and technical expertise he brought to these incredibly fast songs.  The same was true of Cook–his wrsits moved so fast!

Drummer Jack Anderson must be exhausted by the end of the show playing so fast.

(more…)

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