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Listings are
in the opposite order of appearance: headliner is listed at the top,
next is the support band(s),
and the last band listed is the opener.
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Saturday July 25
2026  8:00PM doors -- music at 8:30PM ••• 21 AND OVER $20 $25.31 in advance [20 face value + 5.31 service fee] The Body instagram.com/christsredeemers sludge metal BIG BRAVE instagram.com/big_brave post-metal TBA xxx The Body -from Portland, OR -The Body is a prolific musical force whose creativity is matched only by the astonishing weight of their sound. Duo Lee Buford and Chip King have established their own musical language that reimagines how rhythm, dynamics, and sonics can shape or dismantle song structure. Over the course of two decades, the duo has consistently challenged assumptions and defied categorization, redefining what it means to be a heavy band. On their new album, The Body are again pushing limits and testing the boundaries of the studio to explore the extremes and microtonality of distortion to find its maximal impact. I’ve Seen All I Need To See is The Body at their most incisively bleak, a towering monolith of noise. I’ve Seen All I Need To See marks both a return and departure for The Body. In contrast to the electronic-centric instrumentation and production-heavy arrangements of previous albums and Buford’s work in Sightless Pit, this album is focused on their core live sound: Buford’s booming, resolute drums paired with King’s obliterated guitar and howl. Following albums with extensive guest performances and acclaimed collaborations with Thou, Uniform, Full of Hell, and more, I’ve Seen All I Need To See is almost entirely the core duo. Guests vocalist/pianist Chrissy Wolpert and vocalist Ben Eberle are used very sparingly. Course, bristling distortion contorts every instrument, with samples of spoken word, cymbals, toms and King’s already noxious tone emerging from layers of feedback. The myriad of tonal interplays, captured in detail, has a movement all its own. The Body, together with engineer Seth Manchester of Machines With Magnets, capture the complexities of distorted sound in stunning detail. The clarity and the cacophony exceed anything they’ve created before, morphing desolate, festering soundscapes into an exhilarating sonic universe. The recording studio remains indelible to The Body’s creative process. Working closely with Manchester, Buford often lays the framework for songs from the drums up, mirroring hip hop production. I’ve Seen All I Need To See trades out 808s and The Body’s self-sampling for live instruments with a focus on expanding mutations of sound from more limited sources. The results are remarkably rich textural bombardments. Throughout, The Body deliver oppressive noise with potent lucidity, replicating the overwhelming sound of their live performances in revelatory detail. I’ve Seen All I Need To See demonstrates not only The Body’s fearless spirit and vicious edge, but their intellectual musical heft through its explorations of distorted sound and the power of distorted sounds’ interplay. Composer Roger Johnson said “Noise is power, but is generally represented as negative, chaotic, dangerous, violent, when it comes… from those marginalized from power. Noise is also an expression of freedom, a ‘liberation of sound.’” The Body are sound liberators capable of mining and extracting remarkable details from the most manipulated and distorted sound sources. I’ve Seen All I Need To See is a groundbreaking work and an ecstatic listen, whether seen as a testament to catharsis in oblivion, an opus of inexorable dread or a wholly liberating adventure. BIG BRAVE -from Montreal, QC -The work of BIG|BRAVE is ever-expanding. The breadth of their sound has encompassed a breathtaking array of dynamics and sonics. Their sound, guided by their indomitable exploratory spirit, exploits contrasts between extremity and subtlety. The trio’s singular, masterful sculpting of sonics into songcraft tucks layers of vulnerability into formidable storms. in grief or in hope is an innovative vision of electro-acoustic sound and emotive storytelling, an endless bounty of overwhelming distortions and devastating beauty. in grief or in hope marks a shift for BIG|BRAVE towards denser, guitar-oriented compositions. With longtime touring bassist Liam Andrews (MY DISCO, Aicher) joining guitarist/vocalist Robin Wattie and guitarist Mathieu Ball in the studio for the first time, the pieces are keenly layered with a rich tapestry of harmonics and tonal intricacies. Each piece is its own biome of distortions starkly contrasted with delicate, even tender, moments. The trio’s instinctual progressions are made more vivid through live recording, harnessing the gargantuan and storied sound of their performances. Within texturally maximalist loops and affected vocals, the pieces utilize the aesthetics of drone, electronic, and heavy music within a foundation of pop song form. Wattie writes: "I wanted to explore catchy, melodic phrasing weaved throughout the intensity of the instrumentation and drony chord changes. All that I could reflect on was grief and hope; death and life; cause and effect; shared experiences of being a human person.” The tenth album for the ensemble, in grief or in hope pays homage to their past while looking into their future. Standout “the ineptitude for mutual discernment” expands on lyrical themes first explored on 2015’s Au De La where “verdure” echoes melodies from the title track of 2014’s Feral Verdure. These references to their past serve as potent reflection points on BIG|BRAVE’s evolution as artists. A sonic whirlpool of string instruments surrounds Wattie’s commanding vocals as she shifts from spectral undulations on pieces like “what may be the kindest way to leave” to the direct, spare declarations of the title track. The ambiguity of mountainous chords on “an uttering of antipathy” are coupled with autotuned phrases emphasizing isolation inside the fray. Together the trio deliver emotional momentum that vividly describes the complex and deep feelings of struggle, pain, and transcendence. in grief or in hope transmits that sense of humanity with every gesture. releases June 12, 2026 a tiny window into the universe that expands behind their eyes. in their bodies. that is their soul. their heart the weight of it. their pleasures their nerdows. their aches their woe the gift they are to those that know them especially specifically more significantly those the choose to love, they are sacred even if we are ephemeral. the joy the preciousness that it is to behold then, to notice. they are witnessed. to list it all give them a piece of true love. folded small. i want to record it, a love letter. for each of them all. — Voice, electric guitar, amplifiers - Robin Wattie Electric guitar, amplifiers, acoustic guitar, harmonic tube, album art & layout - Mat Ball Electric bass, amplifiers, harmonica, prepared speaker - Liam Andrews Synthesizer, production, engineering, mixing - Seth Manchester Spring reverb box - Luc Van Weeldan TBA - - |
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