2:54, WIDOWSPEAK

Monday 09th, July 2012 / 15:27

BILTMORE CABARET – JUNE 23, 2012

There are times in Vancouver when, after about three or four weeks of constant rain and grey clouds—much like most of June—not even the best of musical acts can pull our population out of its funk.

Such was the case at 2:54’s show at the Biltmore on June 23.

Openers Widowspeak kicked off the evening at 8:45 p.m., playing to a meagre audience of about 15. The Brooklyn-via-Seattle four-piece played its shoe-gaze style psych with little energy, though singer Molly Hamilton had crowd members entranced with her airy, ethereal vocals.

When headliners 2:54 hit stage—the band name a nod to the U.K. sisters’ favourite Melvins song—they did so with a mellow-rock groove.

“Circuitry” started the indie-rock band’s set, setting a hazy and entrancing tone for the night. That was followed by more of the same, with songs “Easy Undercover” and “On a Wire” showing brief glimmers of guitar licks between repetitive, trance-like rock layered underneath Collette Thurlow’s soft, feminine voice.

Which, of course, is the perfect ingredient for love-lorn lullabies—Thurlow clearly has a penchant for writing those—but, unfortunately, it seemed to be doing its job almost too well, putting the audience into a blissful slumber rather than perking us up.

With 2:54’s set coming to a close, Thurlow saw a place to pick up the energy, giving away a more spirited stage-manner than she had before. Heavy percussion picked up on closing number, “Gut Hold,” but by the time audience members were finally back on their feet, it was time to leave, with no encore to be had.

By Kristi Alexandra
Photos: Joshua Grafstein

,

Alberta

Recent
DRI HIEV Harness the Power and Pity With Refurbished Kindness

DRI HIEV Harness the Power and Pity With Refurbished Kindness

by Christine Leonard Man and machine merge on DRI HIEV’s dystopian, industrialized noise punk, but that doesn’t mean there isn’t…