The Cellar is the small building in the parking lot of Spaceland. Formerly The Outer Space, The Cellar is a quasi-subterranean den with bar for smaller or weirder events. Tonight’s offering landed in the small and weird categories. Lana Del Rabies is the “uncompromising project of LA based artist Sam An, known for her visceral fusion of industrial, gothic noise, and experimental metal.” LDR had a high console draped in a black lacy wrap. She wore a cropped black tank top and black army pants that exuded a “don’t fuck with me, but I’m kind of hot” Linda Hamilton vibe. Cue visceral fusion as she screamed and growled into the mic while coaxing doomy drones from her rig. She frequently hopped off the small stage and writhed through the crowd on her hands and knees leaving a trail of viscera. Earplugs were essential, and I stayed toward the back for fear of, well, getting Rabies. At one point it seemed that she was yelling “fight!” at some dude’s sneakers. I was amazed that some turns had this music swerving clubby. I think the outer skin of my earplugs changed color from the assault.
John Wiese is an electronic artist also from LA. He has been occupying the noise scene since the 90s. Collaborating with a who’s-who of the genre Wolf Eyes, Merzbow, Kevin Drumm, C.Spencer Yeh, and Thurston Moore, Wiese has an impressive CV. On this evening, his kit looked like an old timey switchboard. Plugging and removing cables to glitchy effect, Wiese entered a trance while manipulating static and white noise. Sixtyish, with a goofy floral cap, it was hard to believe his travel buddy was a goth queen of the apocalypse. The switchboard had me thinking of Lily Tomlin and her “one ringey dingey”bit.Playing one 40 minute piece that concluded with a sheepish wave and a “ thank you”, these musicians remind one of just how vast and varied our culture is.
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