FESTERVAL Night 1 feat. Meatbodies & Dead Ghosts


Alice is a self critical epic. As somber as the fog, intoxicating as jasmine. A near fable of fear, sexuality, war, religion, technology, peace, philosophy, hedonism, sociology, evolution, and ecclesiasticism. Like a whisper on a vinyl record from1952. Alice is open with dilated pupils. Flushed with passion, under soft lit words. A dance hall in the jungle, interrupted by the thunderous disease of the contemporary man. Alice is no religion, but may be seen as one. Alice is no person, no god. Alice is an idea, a feeling, covered in pink lace. Alice is a message, a hidden commentary of modern day, bathed in fantasy, abounding in ecstasy, feeling colors. Feminine in nature, torrid fantastic emotion, unique and tangible. A stinging kiss on a crisp November night.

Meatbodies return ascending towards ground level bringing us ALICE. A "heavy-pop" concept, metal on molly. Chad Ubovich, Patrick Nolan, and Kevin Boog step out in new form, souring through diverse stories, tones, and characters. Dancing between quiet and loud, funk and doom. pop and noise. Their messages preached celestial and deafening, a sacred scripture for today's world. A warbling rhodes piano, a liquifying electric guitar, a ghostly synthesizer skating across the sands of a 12 stringed acoustic. Meatbodies dig deep into the rich soils of earth to reveal the chaotic sensual vibrations underneath the fields we walk upon. Connecting our limbs, our mouths, our consciousness to the microcosms of the grime, all while being lit by black light. Captured wriggling and alive in San Francisco by Ubovich and Eric Bauer at The Bauer Mansion. ALICE is a step in the right direction, a new direction, a new way of thinking.
Watching the futures, watching the world burn.


Dead Ghosts

The only real problem Dead Ghosts have is that they're too damn good at too many different genres. Whether it's surf rock, garage, punk or key-driven rock romps, Dead Ghosts have supplied the goods, rolled them tightly and provided the flame. All you need to do now is inhale.

While the heavy rock power trio is a staple of American underground music - Dinosaur Jr, Melvins, Big Black - Canadians aren't as convinced that less can actually be more. We're lucky to count NoMeansNo amongst our thin "3 guys in a band" ranks, but we're most famously led by Rush. Canada is a place where you can't count the members of one band on one hand. Is it any wonder that Metz is signed to Sub Pop instead of Arts & Crafts?

If trios are the hole in the Canadian music industry's veritable ripped jeans, Vancouver's War Baby are ready to rip it a new one. The analogy fits a little snugger when you consider that Jesus Horse, the group's debut LP, was funded by selling a pair of collectable vintage Levi's jeans.

Recorded with engineer / producer Jordan Koop (Peace, Nu Sensae, The Mohawk Lodge) in the 100 year old heritage building that houses Vancouver Island's The Noise Floor recording studio, Jesus Horse marks the first material from the band since their Permanent Frown EP, and further explores the band's primal plunge into the grungey annals of noise rock.

Between the feral cries and fuzzed-out feedback attack of Jon Redditt, Brock Allen's wriggling bass groove and the giddy drum pummeling of Kirby Fisher, comparisons to Nirvana are inevitable. Jesus Horse's first catchy aggro-pop single "Dentada," for instance, navigates a Bleach-soaked loud-quiet-loud arrangement that proves the young Vancouver act have definitely been paying attention in "School." But despite an obvious appreciation for arguably the most famous Pacific Northwest power trio, textures of Melvins' sludge metal sluggyness and the ominous influence of Black Sabbath dial themselves into the band's distorted patchwork.

FUN ROCK from Vancouver, BC


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