Khanate foi a última banda a realmente me impressionar. O som que eles fazem supera qualquer som que se chamaria de pesado.
Eles não eram mesmo uma banda para poucos. Eles eram uma banda para eles mesmos. Vai ficar na memória de poucos que tiveram o privilégio de vê-los ao vivo. Quisera eu ser um deles.
O texto abaixo é a melhor descrição que eu já vi deles. Khanate era isso.
Named for a period of Mongol rule, New York City’s Khanate was not a band for few; they were a band for no one. Guitar snarled, spat, heaved and shrieked; horizon wide riffs revealed their selves only to contort into thorny scrabbles of feedback, broken harmonics, dog whistle whine. Drums stalked and plummeted and perforated; stabbing, clubbing, knocking craters into each song’s structure deep enough to fill with the pain that “vokill” troll Alan Dubin must carry with him. Whispers—words given in confidence; screams—declarations of the state of affairs; converse—talk taken into worm-infested graves and worn as a beard of bees. Bassist James Plotkin was an essential part of the Khanate ritual, turning nothing into something; realizing presence in empty rooms via boiling bass rattles, and laptop mad science.
“I wear a human shield—shh-shh.”
Dubin sometimes screamed so shrilly he went black; passing out from the power of his own breath. Plotkin blew four bass heads in one year; O’Malley plumbed the darkest depths of A minor, his strings nearly disconnected from their neck. Whatever heads drummer Tim Wyskida hammered have passed the terror test; that skin company’s practically got a goldmine of an endorsement ad waiting in the wings. Significantly, the gear fails to acquiesce most of the time, beaten into the void as a beachhead by tidal torrent. Read More »Khanate
Jacob’s Ladder é daqueles filmes subjetivos que você precisa ver mais de uma vez para entender completamente tudo que o filme pode dizer. Como eu assisti apenas uma vez, ainda estou meio perdido quanto a isso tudo.
