Chastity Belt

Kickstand Productions Presents!

Chastity Belt

Sneaks

Thu, June 15, 2017

Doors: 7:00 pm / Show: 7:30 pm

Subterranean

$12.00 - $15.00

This event is 17 and over

Chastity Belt
Chastity Belt
Chastity Belt is a rock band consisting of four friends - guitarists Julia Shapiro and Lydia Lund, bassist Annie Truscott, and drummer Gretchen Grimm. They met in a tiny college town in Eastern Washington, but their story begins for real in Seattle, that celebrated home of Macklemore and the Twelfth Man. Following a post-grad summer apart, a handful of shows and enthusiastic responses from the city's DIY community led them, as it has countless others, into a cramped practice space. They emerged with a debut album, No Regerts, sold it out faster than anyone involved thought possible, and toured America, a country that embraced them with open-ish arms. Now they're back and the tab is settled, the lights are out, the birds are making noise even though the sun isn't really up yet: it's Time to Go Home, their second long-player and first for Hardly Art.

In the outside world, they realized something crucial: they didn't have to play party songs now that their audience didn't consist exclusively of inebriated 18-22 year olds, as it did in that college town. Though still built on a foundation of post-post-punk energy, jagged rhythms, and instrumental moves that couldn't be anyone else's, the songs they grew into in the months that followed are equal parts street-level takedown and gray-skied melancholy. They embody the sensation of being caught in the center of a moment while floating directly above it; Shapiro's world spins around her on "On The Floor," grounded by Grimm and Truscott's most commanding playing committed to tape. They pay tribute to writer Sheila Heti on "Drone" and John Carpenter with "The Thing," and deliver a parallel-universe stoner anthem influenced by Electrelane with "Joke."

Recorded by José Díaz Rohena at the Unknown, a deconsecrated church and former sail factory in Anacortes, and mixed with a cathedral's worth of reverb by Matthew Simms (guitarist for legendary British post-punks and one-time tourmates Wire), Time to Go Home sees Chastity Belt take the nights out and bad parties of their past to their stretching points, watch the world around them break apart in anticipatory haze, and rebuild it in their own image with stunning clarity before anyone gets hungover.
Sneaks
Sneaks
Late for detention
Wanna be amphibian
Fusion over fission
Door to door
Knees on the floor
Seashells by the seashore
Like most of Sneaks’ music, “Future” is in constant gyroscopic movement—thumping rhythm cutting around deep bass, spoken-word patterns somersaulting through image fragments, childhood nostalgia, and cryptic wordplay. The song is a fitting culmination for It’s a Myth, Sneaks’ second album due March 31, 2017, on Merge Records.
With little more than a bass, drum machine, and deadpan vocals, Sneaks, a.k.a. Eva Moolchan, makes minimalist music that takes up space—something she herself has made a point of doing in the male-heavy Washington, D.C., DIY punk scene that has been her home. Moolchan’s compelling songwriting, along with the fervid energy of her shows, prompted breakout D.C. label Sister Polygon to release her 2015 debut Gymnastics, which Merge reissued in September 2016.
It’s a Myth builds on Sneaks’ playfully stark approach to post-punk, which, as her hometown City Paper described it, causes listeners to go “from curious to provoked to hungry.” Hungry, in part, because the new album clocks in at just 18 minutes of 10 taut, captivating tracks (but still a feast compared to Gymnastics’ 14 minutes). It also adds Jonah Takagi and Ex Hex/Helium frontwoman Mary Timony, who recorded the album at Timony’s D.C. studio. “She’s got art in her brain,” Timony has said of Moolchan. “Her brain is making beautiful stuff.”
Though it flows from influences like Pylon and Bush Tetras, much of that beautiful stuff is hard to categorize or compare to anything else. It’s herky-jerky and fluid all at once, childlike and yet deeply perceptive. “I’m so sure what I’ve been told and I don’t need it,” she sings on “Devo” (a title that appropriately conjures another incarnation of robotic insight). “I don’t know what I’ve just learned but I won’t repeat it.” And while some songs revolve around repetition of the mundane (“Me n me n me n me n you/ You n you n you n you n me” in “With a Cherry On Top”), others are unequivocal confrontation (“You think you got a lot to say/ No you think you need a bigger stage/ You think I can’t contain my rage/ Let me see you bend your breaks” on “Hair Slick Back”).
Moolchan calls Sneaks “a character” that she’s playing, and there’s certainly an element of mystery around the persona and her riddles. But it’s also all her, born out of full solo creative control after stints in a number of D.C. bands. “When I’m writing songs, it’s actually pretty selfish, because it’s like, this is what I need to hear right now in my life,” she has said. It’s surely what others need to hear as well
Venue Information:
Subterranean
2011 W. North Ave.
Chicago, IL, 60647
http://subt.net/