Gaytheist / Nasalrod – Tickets – Mississippi Studios – Portland, OR – February 7th, 2019

Gaytheist / Nasalrod

Explosive and outlandish Portland trio making crunchy and melodic hardcore punk

Gaytheist / Nasalrod

Stress Position

Thu, February 7, 2019

Doors: 8:00 pm / Show: 9:00 pm

$8 ADV / $10 DOS

This event is 21 and over

Mostly Standing / Limited Balcony Seats 

 

Gaytheist
Gaytheist
"Dear Whoever reads this:
Please help! I've been trapped in a basement since 2011 by three idiots calling themselves "GAYTHEIST". I believe I'm in Portland, lots of complaining about both the sun and rain. They play so loud my ear drums have ruptured, and the tempo of their ridiculously heavy songs keeps getting faster and faster. Thank god the singer actually tries to sing and doesn't just scream...oh no, wait, now they're starting to scream. You guys had a good thing going, why ruin it?? They're not human, I've never seen them eat or drink (yet come to think of it I have seen them poop and pee). -Corey Corflax"
Nasalrod
Nasalrod
Described by The Deli Magazine contributor Tracy Mamoun as “surprising, experimental, and fun like rock n’ roll should be,” Nasalrod is a collaborative vision. The intensity of drummer Spit Stix (a founding member of the seminal L.A. punk band FEAR) is a major driving force behind the Portland quartet.

“The genre police will never close the case on Nasalrod. You can’t call them punk because you’d be selling them short. They don’t play noise rock because their songs have structure, even a dance-ability at times. You could almost call them a pop band, but they’re way too heavy and aggressive. They’re a band of musical masterminds that can’t be caught.”
– Aris Wales, The Portland Mercury

Nasalrod’s rst 12” release, Building Machines, opens with the urgent riff of Wage Slave, a frenetic yet tuneful song about the tragicomic daily grind. An off-center concoction of contorted guitar gures and shape-shifting rhythms quickly add fuel to the re, setting the pace for this full length vinyl debut.

Named after the bone in Screamin’ Jay’s nose, Nasalrod has found that originality and insanity can go hand
in hand. Lead singer Chairman’s sneering, kooky yet soulful vocals soar over a sound that is simultaneously melodic, violent and convulsive. Spit Stix, guitarist Mustin Douch, and bassist Mandy Morgan (formerly of Recess Records band Berzerk) provide a sonic backdrop that is the twisted and theatrical heart of Nasalrod.

Armed with their notoriously frantic live show, Nasalrod has shared stages with Mike Watt, Toys That Kill, Torche, and Melt-Banana. In October, the band will begin by performing regionally, and then expand the tour dates nationally throughout 2018 in support of Building Machines.
Stress Position
A stress position is a form of torture in which a prisoner is forced to put all of their weight on just one or two muscles. The intention is to cause their body maximum pain and stress, in hopes that they will either submit to authority or give up information. Metaphorically speaking, the term could be used to describe the conditions in which many minorities are living in America: oppressed, impoverished, and at the risk of being killed or imprisoned for merely existing.

When Portland band STRESS POSITION, who draw their name from this torturous practice, enter their space every week, it’s never their intention to do anything but play noisy, heavy music. But with the increasingly dystopian state of the United States combined with songwriter Jose De Lara’s experience as a Mexican-American, it’s nearly impossible for the music to not take shape in the form of highly political, justifiably angry, anti-authoritarian noise-rock. Anyone who has been paying attention knows these themes have been common in American history since long before our current administration.

The band, which often jokingly refers to itself as “Fugothzi,” is dark and riffy, taking inspiration from the likes of Killing Joke, Shellac, Melvins, Unwound, The BirthdayParty, Wipers, and other “noisy, post-punk, goth, dark punk shit.” De Lara (DRUNK DAD) plays bass, while Tuviya Edelhart (VALKYRIE RODEO, POLST) plays drums and Andy Brown (POLST) switches between second bass and discordant guitar with a Sonic Youth-esque tuning.

Stress Position, the group’s self-titled debut album (out now on Portland-based Nadine Records) has two standout tracks: The first is “Stepped,” which De Lara describes as being about white nationalism, and the disproportionate animosity felt between People of Color and racists. “It’s really about the way certain people perceive you if you’re not white,” he says, “And just not letting it get to you personally by saying, ‘Fuck you, I don’t give a shit what you think about me. I don’t care. I feel the same way too about your ignorant ideology.’ But at the same time, I don’t go out of my way to put this truly hateful stuff out there—I don’t have the power of a million subscribers and followers on Youtube and Twitter, you know? My message is about inclusion and centering marginalized voices.”

The second is “Swallow,” which is about is ostensibly about climate-change denial and the Orwellian propaganda of media outlets like Sinclair Broadcasting and Fox News, but could be applied to any situation in which the masses just swallow lies that are fed to them without hesitation. De Lara says this phenomenon in our current culture reminds him of both 1984 and the ‘80s movie They Live: “It’s not totally 1984, because our lives aren’t like that. They’re not super regimented—we still have this semblance of being free. But underneath the surface, there’s a massively profitable industry convincing people to reject renewable energy, a policy which could someday lead to mass extinction. There is a lot of doublespeak happening. So you have to put on the sunglasses to see the world as it is. They Live, We Sleep, We Stress.”