Performing "The Action Is Go" In Its Entirety
Bloodnstuff, Jar'd Loose
Tuesday, April 9, 2013
Doors: 8:00 pm / Show: 8:30 pmDouble Door
This event is 21 and overhttp://www.doubledoor.com/event/214521/
Everything blood&stuff does is born out of necessity. Holmberg began his versatile singing when a former bass player/singer didn't show up for a gig. Holmberg convinced Gouert they could do everything as a duo when Economy Team bassist Ted Johnson left. "I went with it, figuring we would eventually find another bass player. Instead I realized we really didn't need a bass player," says Gouert. He designed and built a secret weapon, enabling Holmberg to dexterously play bass and guitar live while singing, simultaneously layering riffs and melodies. With a sound bigger than that of most four-pieces, the music is amazingly all created live. "No recordings or looping, and never will be," Holmberg states flatly.
Blood&stuff honed their musical skills by holing up for a year and a half, pursuing perfection before finally performing live in April 2011. It was the longest period they'd not performed since they were children. "Friends thought we'd never play out," Gouert says. Seemingly old vets in young men's bodies, blood&stuff evolve so quickly that their young songs are old to them the second they're recorded. "We recorded twice already, but we tossed out both recordings. Because we were moving so fast, it was still so experimental, that months after both the recordings were done, they weren't us anymore," says Gouert. Only a few of those old songs, including their first, "Not the Cow People," remain in their high-energy performances. Now, they need a record and to tour. "We've spent all our money on that recording, and all this gear. We're trying to figure out a way we can record one or two songs in the next couple months because we realize we really, really need something to put out," says Gouert. "We're perfectionists." He holds out his bandaged wrist. "I'm fucking falling apart. My hand could fall off while playing drums," he feebly notes. "That will be totally fine," Holmberg assures him. "Just make sure there's a couple thousand people there to see it. Then that's fine." [CIty Pages, October 2011]
chapter in their hometown’s history of heaviness. Jar’d Loose’s sound
is all their own — thoroughly rocking yet left-of-center, totally new
yet aligned with the spirit of their musical ancestors, from The Jesus
Lizard to Entombed.
At the core is teeth-clenching momentum — brutish, hellbound
noise-rock driven by Eva and Pete Adam Bialecki’s chugging freight
train riffs and Phil Hardman’s bare bones beats, built for maximum
headbanging. Leading the charge is frontman Eddie Gobbo with a voice
like no other. Gobbo holds court with a tormented, raspy punk snarl
that’s one of a kind — unhinged and real.
Atop this foundation, the band takes startling left turns. Riffs
transcend all expectations, making detours into unforeseen realms —
what starts as a fist-banging dirt rock anthem shape-shists into an
ebullient refrain or a haunting death rock dirge. It’s Jar’d Loose’s
ability to rock out hellishly then pull the listener into strange new
dimensions that makes Goes to Purgatory one of the most exciting
debuts to hit the streets this year.
1572 N Milwaukee Ave
Chicago, IL, 60622