Advertisement
Proof of vaccination or negative COVID test result within 72 hours of show daterequired for entry to this show.
In the FBI file on the American rock ‘n’ roll band Algiers—which given their
prior penchant for repping the Black Panthers, Malcolm X, Angela Davis, and
Afeni Shakur, among others, surely exists—under the subheading for their third
album, There is No Year, the intelligence should soon read: all prior analytics
appear outdated… this undoes everything we thought we knew about their
intentions…what hides inside them… as if they are mutating live on camera,
between frames… Indeed, even those aware of the ideals of this outspoken
four-piece will find their latest direction traversing unprecedented ground.
Coming off two years of nonstop world- touring for their critically acclaimed
second album, The Underside of Power—including Central and Eastern Europe, the
Baltic States and the Balkans, where they have established a rabid following; an
extended stint opening for Depeche Mode in huge stadiums such as the
75,000-capacity Olympiastadion in Berlin; as well as Glastonbury 2019—There is
No Year solidifies and expands upon the doom-laden soul of their foundation,
toward an even more epic, genre-reformatting sound, one somehow suspended in the
amber of “a different era,” as described by guitarist Lee Tesche. From the
instant synth-pulse of the opening seconds of There is No Year, it’s clear that
Algiers have set out to stake new ground, internally as much as sonically. At
the forefront of this evolution is the centrality of power housed in Algiers’
multi-instrumentalist lead vocalist, Franklin James Fisher, whose voice and
words provide the backbone of the album, his lyrics sourced entirely from an
epic poem, “Misophonia,” composed during his search for meaning amidst a
protracted personal period of anxiety and lack. “What I wanted to do is create a
negative space wherein I can exist and engage but at the same time not be so
exposed,” Fisher explains. He speaks of the record’s perspective as not only a
political apparatus, but an intimate, responsive evocation of his understanding
that “nothing is ever what you expect”, that what might seem for now to be well
known or assured is not always so, that there is no safety net. The effect, as
felt on the record, is undeniable: Fisher sounds like he is singing for his
life—for all our lives, really—baring his soul while the walls disintegrate
around us. The pool that he draws on is at once penetrating and exhilarating,
wielding its anguish like a mirror at Medusa, full of hell. Whether he is
lilting over post-Lynchian synth-whorl like a spot-lit bandleader, as on
“Unoccupied,” or reincarnating the spirit of thrumming 80s R&B into a proto-no
wave dancefloor classic straight from 2046, as on “Chaka,” there is a tangible
emotional electricity to Fisher’s delivery, a personal valence that makes you
want, more than anything, to believe, even while not quite knowing where we’re
headed. No less next-level in Algiers’ conception is the ambition of the aural
architecture they manage to summon. Under the direction of producers Randall
Dunn [Sunn O))), Earth] and Ben Greenberg [Zs, Uniform (as featured on Twin
Peaks season 3)], the same exciting duo who first teamed up on Jóhann
Jóhannsson’s Mandy soundtrack in 2018, the clearly studied composition of this
new horizon finds an outlet for turmoil via a fascinating synthesis of
styles—from future doo-wop from the trapped heart of ATL, where they began; to
industrial soundscapes a la Scott Walker or Iggy Pop; to something like the
synthetic son of Marvin Gaye and Blonde Redhead. The whip-tight rhythm section
of Ryan Mahan and Matt Tong (ex-Bloc Party) moves back and forth from infectious
menace to sci-fi soundtrack to big band fever dream, seamlessly syncing fresh
continuity. Mahan’s beat programming and synth constructions fill out the
fibrous threshold, while Tesche’s sound-sleeves and aural- layering shapeshift
into a richly polished means of exploration, revealing more and more the deeper
you delve. “This is the sowing / Of the whirlwind,” Fisher sings on “Repeating
Night.” “Don’t forget it’s us against them.” There’s something more behind the
curtain of our daily-headlined pain, the album’s title seems to
suggest—something even larger at stake than rage, or even revolution; which is
exactly what Algiers’ music appears to have resolved itself to channel, and to
wield. Their essence on There is No Year is a statement of their defiance, their
desire to feel and be human even beyond the necessary fight back, sprawling
head-on into the burning wind of doubt and fear and all it’s claimed, arriving
on the far side of calamity more alive than ever.
Advertisement
Event Venue & Nearby Stays
2501 Kettner Blvd San Diego CA 92101, San Diego, United States
Tickets