01/24 @ 8:00pm - Jonathan Kane’s February + Monotract

February

Jonathan Kane is a Downtown NYC legend — as co-founder of the no-wave behemoth Swans, and the rhythmic thunder behind the massed-guitar armies of Rhys Chatham and the rock excursions of La Monte Young and one of the hardest-hitting drummers on the planet. 

“Wedding the brutal severity of Delta country boogie and Seventies German pulse rock – all dead-ahead motion and mounting detail…Epic.”
Rolling Stone

“Somewhere between Sonic Youth and Steve Reich is the drummer Jonathan Kane. Interested in the crossroads of new-music iconoclasm and experimental rock, he has a drummers sense of steady dynamic development and an unapologetic love of noise. Virtuosic”
New York Times

“Intensely propulsive motorik blues, its muscularity and greased relentlessness is never less than exhilarating”
 Uncut

Monotract

Monotract blends trad to avant hardcore dynamics with electronic textures and far-out spatial distortions, resulting in a compelling marriage of worlds more accessible than the patronage of Load Records, home of Lightning Bolt and Yellow Swans, might suggest. One of the keys to the [Trueno Oscuro's] success lies in the application of dubwise treatments to the Q: Are We Not Men? Devo clamour of “The Ballad of Lechon” becomes a mind-shatteringly percussive assault, thanks to the liberal application of echo, most notably in its devastating final moments. This is by no means a new conceit- reverb has long been appropriated by cannier noisemakers, from Sonic Youth to Wolf Eyes- but [they] appear to have near-as-damnit perfected this particular art. Of course, it helps that in Roger Rimada the trio have a spectacularly talented drummer capable of balancing idiosyncracy with accuracy in a manner that wouldn’t shame Keith Moon. Other tracks indicate a possible way out of the crowded noise ghetto, applying the abject-electro filth favoured by the aforementioned Wolf Eyes and their ilk to solid song structures, surprisingly without diminishing either. “Red Tide” is a particularly effective example, an unholy collision of synthesized throb, metallic clang and compulsive martial rhythm that epitomises the album’s excellence. (The Wire)