Last Night Good Times Come On
posted by November 14 at 13:51 PMon
Celebration, Kill Me Tomorrow @ the Croc
I almost didn’t go out at all last night. I was feeling low, stressed out about work, and not at all in the mood to rock out. Thankfully, a friend of mine was having none of that, and demanded I get my ass down to the Croc because I was already missing Kill Me Tomorrow, damn it. I got there in time to see their last few songs, and from what I saw, a lot has changed about this band since they came through here with Dance Disaster Movement (I know, who?) a few years ago. Their sound is still a mess of reverberating guitar, percussive noise, bass gristle, and vocal drones, but it’s not what I remembered. This may be more the fault of my memory than any actual change on the band’s part, though. What I either missed or forgot or ignored was how Kill Me Tomorrow’s wierdo no wave is often propelled by some seriously tribal drum circling, how their choruses can easily transfrom into guttrual throat chants with enough people on stage singing (as when they were joined by some of Celebration for their final song).
I’m probably not going to get Celebration right the first time here either, but I’ll try. Celebration are pretty amazing live, and they completely melted my low mood. Katrina Ford’s voice is incredible, a tricky balance of PJ’s Harvey freak soul and Karen O’s ecstatic wail. On stage, Ford holds a microphone in one hand and bangs a drum with the other. While she dances and belts and pounds up front, the rest of the band—one agile, bony drummer, one keyboardist brooding with his back to the audience, and another hunched and rocking back and forth like a shock victim—easily keep up with her. There’s a little of the Get Hustle’s vaguely gothic cabaret here, but there’s more uplift and wonder to Celebration. Some songs were tense battles between instruments, others were perfectly harmonious, all were totally entrancing. I can’t believe I almost missed it.