Baltimore’s finest in noise punk performed their excellent brands of sonic savagery on Thursday night at a jam packed Black Cat Backstage as Ed Schrader, Future Islands and Double Dagger performed in front of a excited mob that knew exactly what they were coming in for, and got heaping doses of fun, straight up Charm City punk and new wave. All of the bands are products of the art space and performance collective known as Wham City, a collection of individuals whose dual goals are quality performance and complete irreverence. Baltimore’s always been known as a key locale for art friendly punk rock. In fact, part of the city’s musical ethos seems to be based directly around the concept of loose, unfettered and free form rocking that at its core is well crafted and poignant. All three performing acts fulfilled that concept in droves for a very entertaining night at the venue.
Opener Ed Schrader charmingly coerces audiences into appreciation. The musical version of Michael Douglas’ portrayal of William Foster in Falling Down, Schrader is a man with a drum and a message, a message that comes out in art punk inspired wails, like Patti Smith meeting Henry Rollins in a pair of sensible slacks and shoes. His performance starts off as seemingly innocent anger, but, as it progresses it becomes a case of Schrader and his drum in a battle against a universe seemingly too stupid to care about itself. Every time Schrader strikes his drum, especially on songs like “Time to Die,” he’s striking a blow for the intelligent common man against a universe of dolts.
Future Islands brilliant blend of new wave pop certainly excited the throng on Thursday night. The Thrill Jockey Records signed band has a distinct electro sound highlighted by the excellent synth work of J. Gerrit Welmers, who creates a mood that with any hope, lead singer Sam Herring jokingly advised they will become “Oprah Winfrey’s favorite band.” Future Islands handles both ends of the spectrum quite well, as Welmers’ synths create a truly foreboding canvas upon which Herring can craft emotion with beautiful lyrics. William Cashion’s bass guitar provides the base for lighter tracks like “Tin Man” to fly upon. Overall, it’s quite impressive and a tribute to the dedicated work of a band with just four years under their belt to have such a strong and coherent sound.
Double Dagger – Live at Whartscape 2009 from Nicky Smith on Vimeo.
Double Dagger are the band your mother told you to be scared of, but honestly for no true apparent reason. Yes, they’ve been known to well, “fuck shit up” on occasion, but seemingly not with malicious intent, but rather as a byproduct of their intense artistic method. Yes, there was moshing during their headlining performance in support of new EP Masks, but then again, this is the same band that in the midst of their performance asked the moshers to head to the back, and the typical DC folded hands, nodding to the rhythm concertgoers to come to the front, noting that when they didn’t, that they all were likely here because some website said that because they were so many decimal points of good that they all should be there. It’s that type of disarming and self-effacing humor that dulls the razor sharp teeth of the Double Dagger set. Songs like “The Lie/The Truth” are phenomenal rock that works for any era, a classic, punk inspired sound that hints at Fugazi, but is definitely all their own. This isn’t the typical band that is defined by the personality of one, but is definitely very tied into the qualities of three, their rhythms tight and well crafted on songs like “Pillow Talk” from their latest release.
Overall, Thursday’s event defined what has made Baltimore a definitive punk and new wave locale. Grit and toughness undermined with qualities of excellent musicianship, with a crowd that was active, engaged, mesmerized and motivated by the experience.
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