The “The Oh Sees, Thee Oh Sees, just Oh Sees” were in Montreal October 15th to rattle the rickety National. The wild garage rock ensemble was joined by Prettiest Eyes for a one-two banger show. The turnout was essentially young youths looking to go berserk to some freaky grooves and up-tempo moods, and that’s exactly what happened. Complete with moshpits and crowd surfing; the night did not disappoint.
Prettiest Eyes made it happen first with their trio of drums, bass and keys. The no-wave, synth-punk vibes were raspy, thumpy and tight. The set up was rooted in groove that had drone parts floating all over the place. Crunchy bass tones popped up top to take the lead in the delivery department, while the drums and vocals were served as a two-for-one deal by Pachy Garcia. The post-industrial leak was real and could be heard on the band’s latest LP Vol.3.
Thee Oh Sees lineup consisted of two drummers, a keys guy, a bass player and the plexiglass SG. It took a while for the band to get comfortable with their monitoring. They played for a short few minutes to make sure the soundcheck covered all the sounds. Some people were convinced the show had started and been understandably confused when it stopped so suddenly just so the band could ask for less drums in their monitors. It was worth the wait, because when they got rolling with the intro to “I Come From Mountain,” the sound was massive. The thunder that came from those kits was unlike anything I’ve ever heard. Drummers Paul Quattrone and Dan Rincon were literally front-and-centre on the stage and in the music. These two lads pumped out vicious beats throughout the entire show. They were like super-human specimens meant to be gazed upon in awe.
Founding member and main songwriter John Dwyer also led the electrical charge with his relentless energy. “Toe Cutter – Thumb Buster” in particular was a song that was delivered with the utmost gusto and absolutely crushed everyone in the room. The pit was open all night and people were climbing their way through it just the sake of getting to the stage and jumping back in. Bodies were being passed hand-to-hand all show and the music could not have connected better with the audience. You could feel the release pouring out of everyone. However, songs like “Henchlock” gave a bit of breathing room. The song was a liquid groove, funky and got everyone’s boogie bangin’. Fresh off the twenty-second studio release Face Stabber, the studio version of this song clocks in at twenty-one minutes long. For the love of stabbing facing, check that out.
The show ended after a lengthy, jammed-out “Encrypted Bounce.” It was so long and up and down that people could not and did not ask for more after the band stepped off stage. Toxins released and psyches rebalanced, everyone walked out of there with a ringin’ in their ears and a belly full of beers.
Written by Ben Cornel
*edited by Danielle Kenedy