Shows to see: Nasum, Yamantaka//Sonic Titan, Tragedy, and more | Bleader

Shows to see: Nasum, Yamantaka//Sonic Titan, Tragedy, and more

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Yamantaka//Sonic Titan
The big musical happening this weekend, at least for enthusiasts of a certain bent, is the return of the garage-rocking Blackout fest assembled by the vinyl junkies at HoZac Records, which kicks off with an art-and-music show Thursday night at Bottom Lounge before beginning in earnest at the Empty Bottle the following night. The festival offers a couple dozen punky, psychy, scummy rock acts over the weekend, including headliners Davila 666, Redd Kross, and Roky Erickson. But if hanging out with guys and girls wearing jean jackets and pumping a lot of booze into their systems doesn't appeal, this week's Soundboard offers plenty of alternatives.

Fri 5/18: Nasum at Reggie's Rock Club
"This isn't your standard reunion jaunt," notes Monica Kendrick. These legends of the chaotic and punishing metal subgenre known as grindcore are celebrating "what would've been their 20th anniversary almost eight years after Polish-born front man Mieszko Talarczyk went on vacation to Thailand in December 2004 and became one of the quarter-million people killed in that winter's tsunami." The group broke up directly after the tragedy but have reformed for a belated farewell outing with Keijo Niinimaa (of equally brutal Finnish group Rotten Sound) taking over on vocals.

Fri 5/18: Yamantaka//Sonic Titan at Schubas
Toronto's Yamantaka//Sonic Titan play something called Noh-wave, which is a simple name for a complex blend of "classical Japanese theater, or Noh, and an amalgamation of musical genres that includes psychedelia, metal, prog, punk, and noise," according to Leor Galil. Their live act appears to be similarly elaborate: "caked in makeup that references traditional Noh costumes, they perform in front of intricately designed, cartoonish set pieces."

Sat 5/19: Tragedy at Reggie's Rock Club
Recently it's been a thing for musical acts to try to stay anonymous and untraceable online—sort of a conceptual comment on Google's cultural power—but they're usually undone by the attentions of tastemaking blogs. Not so Portland's Tragedy, who play an epic, sonically challenging version of crust punk while retaining the form's cultish contempt for mainstream exposure. They're harder to find on the Internet than a witch-house act with unreadable Unicode squiggles for a name.

Sun 5/20: Mike Reed's People, Places & Things at Hungry Brain
"From the outset," writes Peter Margasak, "this quartet has aimed to connect the overlooked postbop created in Chicago in the late 50s to the jazz of the present, and that's precisely what it did on its first recordings." The band's new album, Clean on the Corner, seems to exist outside the self-contained trilogy of the first three, which interpreted old songs, then rolled out new songs, and then synthesized the two—"but at any rate, what's always most distinguished People Places & Things is the members' high-level rapport, not their choice of material."

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