Concert Review: Psychic Ills and Blood on the Wall

Psychic Ills introduced themselves to T.T. the Bear's in Cambridge a few weeks ago with a tidal wave of guitar noise, immediately calling to mind the 4-piece set up of Sonic Youth, with two distorted guitars furiously flanking the stage. Periodic release into more structured songs recalled Sonic Youth playing both sides of the coin around “Silver Rocket” from Daydream Nation.

The night would prove to be even more rewarding as a steady rhythm section provided a backdrop for guitarists Tres Warren and Tom Gluibizzi to slip in and out of serious droning. Songs like “Electric Life” and “January Rain” were enchanting as either guitarist would subtly twiddle here or there for a little drama. Reminding Bostonist of how shoegaze got its name, the band members were unidentifiable behind hair and noise, save for bassist Elizabeth Hart, whose walking-in-place bass line on “January Rain” mesmerized. With droning like the seediest of Brian Jonestown Massacre’s trances, clamor like Spritualized without the gospel (“Electric Life” from forthcoming Dins), and guitar moans off My Bloody Valentine’s Loveless (listen to MBV’s “Touched”), Psychic Ills’ influences rang with each hailstorm of distortion. Importantly, though, at the forefront was just the right combination of each for a listener to desperately want more.

Set closer, “I Knew My Name” (also on Dins) was downright glorious, culminating in Brian Tamborello’s marching beat and clamorous symbols. On record, Tres Warren’s vocals and wailing guitar sound like Anton Newcomb has completely abandoned the UK and taken up space exploration. Live, the song erupted into a conflagration, rendering vocals inaudible, but suggesting the best that droning shoegaze could possibly offer: that a song clocking in at nearly 9 minutes can seem criminally short.

Look out for the official release of Dins in February (final track “Another Day, Another Night” matches ‘I Knew My Name” in length and glory), as well as another show from Psychic Ills around that time. Don’t worry, Bostonist will remind you.

Blood on the Wall had a rough night, but braved it light-heartedly and took blame for interruptions and miscues. Admittedly forgoing soundcheck, their set was a stop-and-go of sound level adjustments, monitor monitoring, and some really excellent sloppy indie-punk. Brother/sister, guitarist/bassist combo Brad and Courtney Shanks shared vocal and apologetic duties, always maintaining a friendly opinion from the crowd even at the set’s most frustrating moments.

Drummer Miggy Littleton glued this hodgepodge together, prodding on the other two with excellent drumming, which at times lent itself to danceable moments for the TT’s audience. In spite of what the band’s name and press photos might imply, Blood on the Wall’s sound is only rough in its carefree, stripped-down 3-piece approach: the playing isn’t necessarily neat and the boy/girl vocals don’t harmonize. In this way they manage to catch that elusive off-kilter Pixies-like appeal, but with Brad falling on the Gordon Gano side of Frank Black. “Mary Susan” was a great example of everything mentioned so far, ending in chaos and stumbling into “Hey Hey.” The night’s closer, “Reunite On Ice,” was their strongest performance as the band pulled it together and maximized on the 3-piece, no-effects formula, with infectious results.

Contributed by Michael Walker