[live review] Skull Defekts + Neptune @ Great Scott
This past Monday night Sweden’s SKULL DEFEKTS electrified Great Scott with their brand of taut, rhythmic post-punk. The Dfx, as they call themselves, recently recorded an impressive full-length with vocalist Daniel Higgs, a veteran of the American experimental scene, and his former group, Lungfish, were known for their moody, hypnotic approach. Naturally, Skull Defekts have always considered Lungfish an influence.
Higgs joined the Dfx on stage, and his shamanistic ululations and declamatory talk-singing conjured a mystical vibe -- concertgoers witnessed a communion between the American scene and its far-flung yet like-minded Scandinavian followers. Tragedy struck when the lead guitarist’s amp malfunctioned during the second song; “Now you hear me, now you don’t,” he quipped. Luckily, the obviously inebriated Swede made himself useful, joining Higgs on vocals, occasionally ringing some sounds from his misbehaving gear, and, when all else failed, dancing on stage in a flailing visual representation of the group’s angular sound. Their already stripped-down style proved remarkably durable under these extenuating circumstances, and I hope that the crowd’s roaring approval entices Skull Defekts to return.
Following this astonishing and remarkably well-attended set, local noise-rockers NEPTUNE took the stage with an array of homemade electronics in tow. It had been exactly three years and a week since I saw them last, and I was dazzled by their updated sound and equipment. In the past, the group relied upon homemade guitars and basses, churning out dissonant, distinctly metallic tunes. Their current lineup, featuring new members and new electronics, takes a more textural, atmospheric approach, augmenting the old songs with heretofore-unheard flourishes and digressions. Neptune’s aggressive, off-kilter vibe, unsullied by the additions, made them a worthy closer and one of the few groups who could have followed Skull Defekts.
Monday night’s marriage of local and international noisy post-punk evidences Boston’s undying enthusiasm for challenging sounds.