Pelican at Lincoln Hall | Concert preview
Here’s a list of fun things the post-rock era spawned: Pelican.
Here’s a list of things the Chicago music scene gained by being the hub of the ’90s post-rock movement: bolder local independent labels; jazz nights at rock clubs; remixes that you couldn’t actually dance to; and the ability to throw a fish and hit someone willing to compose a soundtrack to your experimental documentary.
Here’s a list of fun things the post-rock era spawned: Pelican. Calling instrumental, atmospheric, experimental noodlers who once released 15-minute epics fun may sound like a stretch, but despite artsy ambition, the heavy riffage of guitarists Trevor de Brauw and Laurent Schroeder-Lebec always keeps things from being too high-brow. When the band formed at the dawn of the millennium, it scooped ideas and formulas from the Tortoise soup of Chicago’s scene and made them badass by getting hard, heavy and borderline brutal, borrowing ominous, bottom-heavy booms from the mightiest metal bands.
On 2007’s City of Echoes, the band began making songs that were the right length and just evil enough to appeal to a broader metal audience, and it took that to a new level with 2009’s What We All Come to Need. You might be banging your head slowly to “The Creeper,” but when the thunder hits, you’ll be banging it. Its latest EP, Ataraxia/Taraxis, features weird forays into melody, but also includes some of the band’s heaviest riffage yet. I don’t know what “Lathe Biosis” means, but I wouldn’t be surprised if it has something to do with black eyes and brown notes.