Kill Me Tomorrow are a three-piece from San Diego (three thirds of them married, two thirds of them married to a fellow band member). With a more industrial approach to the experimental punk sound of bands like the Liars, Kill Me Tomorrow never faltered in streaming a subtle, percussion based drone throughout their set. The obsessive, military style beats of Zack Wentz’s stand up drumming created a concordance between my tired eyes and the will to keep them open. Indeed, this trio is aesthetically a fairly unique entity — as our most of their counterparts. At times, their sound is too, with some impulsive electronic and guitar based melodies. However, their sound made no real distinction on the whole, and I was left feeling a bit short changed.
…they’ve diluted all the angular traits they once had to a monochromic punk sound without a stop button
What the fuck is happening to JR Ewing? With their early material, they flanked the listener with all the post-hardcore based joys one would expect from a Scandinavian band. Yes, they most definitely have the same volume of vigour in comparison to yester; unfortunately they haven’t plugged this into their most recent produce. I found the last record abrasive when listening, when hearing it performed live I just couldn’t believe it. They’ve diluted all the angular traits they once had to a monochromic punk sound without a stop button. I’m not sure whether they’ve given up or whether I have.
After experiencing a seemingly supine performance by The Locust at All Tomorrow’s Parties a week before their Berlin date, I was anxious to see if they would be more impressive on their own night. For some reason — most probably a real lack of kinship between them and the largely pyschedelic based rapport of all the other bands — the ATP performance irritated me with too many periods of hesitation between their positively cacophonic outbursts. With my memory of their set still actively engaging in discourse with a sometimes intensely-critical opinion (over a cup of tea), it was perfect that they were playing in my new hometown.
…maybe there is a tendency in my sub-conscious to find bands like The Locust more enjoyable in small venues
Having spent the whole soundcheck gazing at their costumes, and deciding that I still like them, I was most definitely feeling eager for some effervescent grind and modulations to shake your organs to. Thank your lord that I was not discomfited this time. Maybe there is a tendency in my sub-conscious to find bands like The Locust more enjoyable in small venues, like this ‘Pfefferbank’ (a very cramped venue that seems to be situated under an old theatre). Whatever the reason, it was certain that their meticulous musical mania was exercised accordingly to their records, and with that I was a happy man. It is honourable that The Locust can slash the convential track time by at least half, and still disseminate the contents of the track further than the gluttonous convention and its many more seconds.