Sled Island and Femme Wave present Chandra with Bored Decor, Uncanny Valley, and Slut Prophet.
Upstairs, there will be a FREE SHOW with Calisthenics, Pudding, Squids, Window Lamp and Blue Odeur
Chandra Oppenheim spent her early childhood in New York's downtown scene surrounded by avant-garde music and art. By 12, she was fronting her own mononymous post-punk freak-funk group.
Seemingly lost to time, Chandra is back with the reissue of her cult album Transportation, new songs, and members of Bile Sister, Tough Age, New Chance, Blonde Elvis and her own 12-year-old daughter helping bring her work to life on stage. Hers is sure to be one of the most unique performances at Sled Island 2019.
Bored Décor make the kind of sneering, unpredictable post-punk that created its early fascinations in the U.K. and New York City. Not that they’re a throwback act, quite the opposite - they’re a primal bunch of weirdos laying out punk-adjacent sounds derived directly from the unconscious. If you tried to describe Talking Heads to an alien from planet jazz, the sounds Bored Décor make would be what they’d imagine.
If you close your eyes while listening to Uncanny Valley, you might imagine punk-era Devo covering the leather-clad period of Depeche Mode — played at least twice as hard. This synth-driven powerhouse of post-punk rips and snarls with ferocity, but never forgets to keep chunky rhythm or jubilant synth melody at equal prominence in the mix.
Slut Prophet is as able to conjure two-minute slabs of sneering punk as if they are 11-minute luddite epics, like the recent cut of their track “Cyclops” from February 2019. Unpredictable as heck, the five-piece led by vocalist-guitarist Audrey Niksic can be both hammering and playful within the span of a breath, with Niksic’s versatile vocals keeping things just steady enough to keep you afloat.
You may recognize the members of Calisthenics from other local acts like Slut Prophet, Reflex Action or frontperson Jack Sinclaire’s numerous projects, but they aren’t a band you’d recognize on stage after hearing their recordings. Their lower than lo-fi demos could never prepare you for the white-knuckle intensity of their doom-riddled shows.
Each of Pudding’s songs is sporadic and volatile, with abrupt time changes and a raucous blend of drums, guitar melodies and complex bass lines seemingly designed to throw you off your feet. The music never feels disjointed, with Paula Moulton’s pleading vocals illustrating the effortless cool that makes for the best kind of post-punk.
Squids create slippery psychedelic grooves that transform songs into layered novels, impossible to fully grasp the first few times around. Each chapter of a song conveys a different emotion through ghostly vocals, interstellar samples and tectonic riffs and bass lines. The sound is accessibly intricate, making it easy for crowds to float alongside each groove with the band.
New group Window Lamp is an interdisciplinary collective project with an ethereal take on surf rock. Their guitar and percussion jangle along as an intentional echo for vocalist Haley Gunn’s reluctant spoken-then-sung vocals. Her words and moans clamber to narrative fruition, while the beat builds to support her vocal thought-process throughout.
It’s not uncommon for a Blue Odeur track to sound like a cacophonous mashup of two stereos playing different songs simultaneously in a windowless, concrete room. The experimental “post-secondary” project of producer lbardsley fuses post-punk, trip-hop and new wave into a Lynchian fever dream like you’ve never heard before.