Deafkids Announce UK & European Tour Dates

Posted in Whathaveyou on September 25th, 2019 by JJ Koczan

deafkids (photo by Nubia Abe)

I missed Deafkids at Roadburn earlier this year — I don’t know what I was watching instead, but you can’t possibly see anything and I did the best I could — but saw them over the summer with Neurosis (review here), and their experimental psych-jazz-space-punk-noise-fuckall was an immediate answer to the question, “How come I keep seeing the name Deafkids everywhere?” It’s, uh, because they’re really good and doing something just about no one else is. So it goes.

The Brazilian three-piece return to Europe and the UK next month in order to support their 2019 album, Metaprogramação, which was released through Neurot Recordings back in March and admittedly serves as a much better argument for watching them play than my say-so. You can check out the stream of the record below, and what the hell, why wouldn’t you?, and dig into the upcoming tour routing below, courtesy of the PR wire.

Goes like this:

deafkids uk eu touring

DEAFKIDS Return To Europe This October For Headlining Dates In Support Of Metaprogramação

Following their recent North American tours this summer – one supporting Neurosis and Bell Witch, the next supporting Big|Brave – the unstoppable Brazilian trio DEAFKIDS wil be touring Europe again this October in support of the new album Metaprogramação, out now via Neurot Recordings. From October 4th through 18th the band will tour through Portugal, Spain, Ireland, Greece, and the UK on a run of headlining dates, as well as one show in London supporting Melt Banana.

Reflecting on the year they’ve had DEAFKIDS remark, “We first started the Metaprogramação Tour in March this year, passing through the South part of Brazil, then in April we headed to Europe with our friends from Rakta – including two memorable appearances at Roadburn Festival. Then in August we headed to our first North American excursion and the reception couldn’t been better. To have the chance and honor to travel all over and meeting amazing people and landscapes, to support and hang around with Neurosis and Bell Witch for the East Coast length – it felt like a dream-tour – and then with Big|Brave for the West Coast length… that’s something we’ll always keep in hearts as a beautiful gift! As our mission to keep spreading Metaprogramação around, now we’re heading back to mainland Europe and the UK, and we’re very excited to play in new places we’ve never been; more cities in Portugal, Spain, Ireland, and Greece. It’s gonna be a blast! In 2020 we’ll complete ten years of existence and it feels like we’re just starting! As the river keeps flowing, the road will never end!”

Find DEAFKIDS’ Metaprogramac?a?o through Neurot Recordings on LP, CD, and digital platforms via Bandcamp, iTunes, Spotify and at the Neurot webshop.

DEAFKIDS Live:
10/04/2019 OUT.FEST 2019 – Barreiro, PT
10/05/2019 Teatro Gil Vicente – Barcelos, PT
10/06/2019 Texas Bar – Leiria, PT
10/07/2019 Sala Hollander – Sevilla, ES
10/08/2019 The Sound House – Dublin, IE
10/10/2019 The Temple – Athens, GR
10/16/2019 Dingwalls – London, UK w/ Melt Banana
10/18/2019 The Old England – Bristol, UK

https://deafkidspunx.bandcamp.com
https://www.facebook.com/deafkidspunx
http://www.neurotrecordings.com
http://www.facebook.com/neurotrecordings
https://neurotrecordings.bandcamp.com

Deafkids, Metaprogramação (2019)

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Live Review: Neurosis, Bell Witch & Deafkids in Brooklyn, 08.11.19

Posted in Reviews on August 12th, 2019 by JJ Koczan

Neurosis (Photo by JJ Koczan)

I’ve seen two shows now at Brooklyn Steel, and the other one was Sleep, so needless to say I’m developing something of a crush on the massive warehouse-space-turned-venue, from its nearby public parking to the balcony space where one might, if the band is loud enough, feel the floor shake just a little bit. Needless to say, at both shows I’ve seen there, that particular phenomenon has occurred.

Three-band touring bill on a Sunday night: Brazil’s Deafkids, Seattle duo Bell Witch and post-metal’s own lawgivers, Neurosis — originally from Oakland but now more spread out along the West Coast and inland — headlining. I was interested to see Deafkids, having missed them at Roadburn earlier in the year, and Bell Witch have yet to disappoint anytime I’ve caught a set, but it was the thought of Neurosis in that room that got me out from under my grandfather’s pine tree and into Brooklyn for the show, rocking out to Sunday evening NPR all the way.

It was a relatively early start for Deafkids, but the three-piece from São Paulo made the most of their time and then some. Their sound is broad and encompassing enough that you can basically hear whatever you want to in it. Punk, psychedelia, organic techno, prog brilliance and space-garage rawness, experimentalism and barebones anti-craft, heavy riffs and pounding rhythms, modern disaffection and futurist ethereality — it’s all there. And at the same time, it’s jazz. Deafkids are the shape of jazz to come. I hadn’t realized. To me it like peak-era Ministry and most-lysergic Monster Magnet got together and decided hooks were for the weak, but again, you could hear anything in what they were doing.

Their 2019 full-length, Metaprogramação — which Neurosis released through their own Neurot Recordings imprint — is likewise stylistically ranging, but live, the effect was brilliant, most especially in the drums, which not only held together the effects wash when they wanted to, but through repetition became part of the overarching churn as offered by the guitar and bass. They were not a super-happy-funtime experience, but they were engrossing, demanding and earning attention from front to back for a set that felt short when it was over.

I heard someone say afterward that Bell Witch were playing a single song from their new album, as in, post-Mirror Reaper (review here), but I don’t think that’s true. I’ve been wrong before, but from the gradual pickup to the way they rolled in linear fashion through their final crashes and receded, it seemed to be a piece culled from that 83-minute 2017 single-song outing — might’ve just been the first half of it; the “As Above” portion of the 2CD release — with drummer/vocalist Jesse Shreibman and bassist/vocalist Dylan Desmond dug into the mournful weight of that album’s spacious emotionalism. Crushing they were, either way, but I was kind of shaking my head when they were done, wondering if I had been incorrect the whole time about what I was hearing. But no, I wasn’t.

Should they actually be moving past Mirror Reaper, they’ve got their work cut out for them in following it, but one might’ve said the same when they put out Four Phantoms (review here) in 2015, and in fact many did, so there. The darkness they conjure is luscious even at its most minimal, and though they didn’t have Aerial Ruin‘s Erik Moggridge to add vocals as he does on the studio version of “Mirror Reaper,” or the time to play the thing in its rather considerable entirety, they delivered a set that was as open as it was claustrophobic, excruciating in its patience but still vital in expression. They had a hard task preceding Neurosis on a Sunday night in Brooklyn, but they more than admirably faced that challenge.

Neurosis opened with the title-track of 2001’s A Sun that Never Sets (discussed here), and I decided about halfway through the song that if they walked off the stage after it without saying a word to the crowd, it still would’ve been worth the drive from NJ. Nearly 35 years on from their inception, Neurosis are the best live band I’ve ever seen. Their shows are on a different wavelength entirely from most acts, and when you go see Neurosis, whether it is your first time or your umpteenth time, it is reasonable to go in with high expectations. I found myself with eyes closed, earplugs mostly out for “End of the Harvest,” from 1999’s Times of Grace, which was the penultimate inclusion in the set and as deep into their discography as they went, but it was “Bending Light” and “Reach” from 2016’s Fires Within Fires (review here) that wound up making the greatest impression on me.

Entirely possible it was a mood thing, or the circumstance of where I was standing, but I seemed to hear more nuance in the guitars of Steve Von Till and Scott Kelly, more psychedelia in how they wove in with Noah Landis‘ ultra-crucial keys and samples, and of course with the weight of bassist Dave Edwardson and the intricate drumming of Jason Roeder, the raw impact of their heaviest moments did indeed shake the floor of Brooklyn Steel‘s balcony. “At the Well” and “Given to the Rising,” “To the Wind” and “My Heart for Deliverance” were certainly more than welcome, but I decided I needed a visit with Fires Within Fires, from which “A Shadow Memory” was also aired, its blend of atmospheric guitar and swinging crunch further encouraging the refresher. Was that album Neurosis‘ way of blending the punk of their roots with a forward-looking psych churn? Did I know it at the time? Was there something I missed, so caught up in the fact of their 30th anniversary? I wonder now.

A bit of homework, maybe, but before Neurosis sent the Sunday night crowd packing, they finished out with “Stones from the Sky,” the closer of A Sun that Never Sets, which was, as ever, a behemoth in its execution. Roeder seemed to change up his drums at the end, opening up the beat just a little bit as the song descended into chaos, and the effect was to make the sudden cut to silence all the more stark. I don’t think I’ve ever seen Neurosis do an encore, but I stood around for a while anyway, hoping they might decide on a whim to come out and roll through “Locust Star” just for the hell of it. No dice, but no complaints either.

In the leadup to this show, I was thinking about the first time I saw Neurosis, at the Theatre of the Living Arts in Philadelphia in 2004. They didn’t really tour at the time, but they were heralding the release of the just-recently-reissued Neurosis & Jarboe collaboration, as well as that’s year’s The Eye of Every Storm (review here). It was the kind of night that changes your perspective on live music. Having had that experience 15 years ago and been fortunate enough to see Neurosis multiple times over since, as they’ve returned to the road more regularly, I had a pretty good sense of what I was going into at Brooklyn Steel. They still managed to exceed expectation. May they go forever doing precisely that.

More pics after the jump. Thanks for reading.

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