Unmanned Ship

Unmanned Ship

Gramps The Vamp, FIRE-TOOLZ, Bloodlicker

Fri, May 18, 2018

8:30 pm

The Hideout

Chicago, IL

$8.00

Tickets at the Door

Unmanned Ship
Unmanned Ship
A murky, methodical drone drugged the crowd to silence before the detonation of a hemorrhaging beat and air-raid guitars. The song was "End of Cigs," from the band's gnarled, tripped-out LP For Whom The Bowl Tolls (Rotted Tooth). Unmanned Ship conjured a steady ascent into dazed, astronomical terror, only to break the trance with barrages of violent, snarling guitar. It was the sound of the Four Horsemen coming down, or at the very least the sound of dropping acid in a minefield. That isn't to say, for all their malevolent flexing, that Unmanned Ship is an oppressive band. The trio focused their assaults on exploring just as much as on tearing down. A series of swampy riffs and fizzing bass lines eventually flared into a bright, fluttering distortion - a sonic cloud that the trio then pushed a crystalline melody behind. (Gene Wagendorf III, Windy City Rock)
Gramps The Vamp
Gramps The Vamp
"DOOM funk" group from Chicago, Illinois
FIRE-TOOLZ
FIRE-TOOLZ
Fire-Toolz is one musical moniker used by a consciousness that has taken the physical form of a transfemme non-binary human named Angel Marcloid. While her other projects focus on extended noise texture or experiments in sample manipulation, Fire-Toolz has come to host some of her most complex and expressive compositions to date, characterized by multi-aesthetic overload and labyrinthine progressive songwriting. Skinless X-1, her first LP, follows the omni-metallic squall of Drip Mental (Hausu Mountain, 2017) and the see-sawing atmospheric juxtapositions of INTERBEING (Bedlam Tapes, 2017) with a program of dense compositions that accelerate her ideas through ever more exquisitely detailed cycles of self-consumption and recombination.
Though her work fits under the wide umbrella of beat-focused electronic production, Fire-Toolz sculpts her tracks from warped signifiers of genres including jazz fusion, electro-industrial, new age, black metal, vaporwave, and noise improv. Far from a passing tourist cherry-picking the juiciest chunks of each of these traditions, Angel has worked through an improbably rigorous musical self-education that seems to compress several entire discrete lives into one: a teenage student of prog and metal, tracing the linear compositions of Rush and Dream Theater on drums, then guitar and bass, then keyboards; touring the country at the front of multiple emo bands before touring the country for years again under myriad monikers in the harsh noise circuit; falling headfirst into the internet abyss of mangled smooth jazz samples and ultra high-resolution sound design. Each of these skillsets and memories collide in the production of Skinless X-1, as sketches of knotty fusion complexity untangle themselves before our ears, only to melt seconds later into hard-panning clouds of alien texture or pads of angelic synth. Fire-Toolz breaks straight through the ceiling of frantic stylistic combination only to realize that she has paradoxically achieved some twisted total unity in sound and form - a complete disjunction in which no single element has any other logical referents, so all fit together in their state of ecstatic variation.
Fire-Toolz’s lyrics from album to album chart a progression from a preoccupation with trauma, through considerations of personal spirituality and secular knowledge of consciousness, and out into prismatic memories of her childhood, her dreams, and her relationship with the natural world. The trajectory follows Angel’s own growth and focus on self-awareness and presence in the moment, informed by the likes of Thich Nhat Hanh, Alan Watts, and Jiddu Krishnamurti. As she burrows inward and unpacks her own character and history, her eyes also turn to the scope of the universe as a whole. By inhabiting these top-down and bottom-up perspectives all at once, Angel demonstrates that the cosmic and the hyper-specific are not as contradictory as they may appear, just like the seemingly opposing forces at play in her music: the chaos of ever more minuscule fragmentation as it crashes into the infinite abstract expanse.
Bloodlicker
Bloodlicker

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Venue Information:
The Hideout
1354 W. Wabansia Ave
Chicago, IL, 60642
http://www.hideoutchicago.com