Text and photos by Matthew Grant Anson
The trouble with Gaza is they don’t really sound like anyone. This is apparent by the types of bands they end up supporting and linked up with on tour. Torche, Black Cobra, Corrosion of Conformity…all solid acts, but none of them come close to embodying the grinding mathcore that Gaza distributes with punishing results. So what’s the solution when you’re a Salt Lake City band without bands similar in genre to support on tour? You stop supporting, and you start headlining.
Such is the case for Gaza’s stop at Aladdin Jr 2 in Pomona, California. With Full Of Hell’s abrasive and sludgy hardcore as well as Code Orange Kids’ fresh, three-vocal punk in tow, descending on Aladdin were three bands whose ascent to nationwide (and beyond) touring was built on grit and tenacity that reverberated through their live performances.
Following three local openers, Full Of Hell took the stage – and their vocalist the floor – embraced by a crowd that erupted once screeching feedback finally gave way to FOH’s churning riffs and blast beats. Their vocalist spent about 70 percent of his time dodging flailing bodies on the floor, alternating between throat-gutting screams and swaying, eyes closed to the feedback behind him. Full Of Hell’s sound is one that basically takes every extreme genre and tosses it into a blender, then spreads the result on hardcore punk. That means that out of nowhere come black metal riffs and dramatic tempo shifts more characteristic of powerviolence than hardcore. It’s a combination that sounds like it’d be too muddled to work, but not only does it stand up on FOH’s recorded work, it’s even better live. People squint and stare at the floor during angsty, doomy moments, and they stage dive and punish each other during the rest of the time. The Code Orange Kids drummer counted himself among the people to launch themselves from the stage to the cushioning of human heads.
Code Orange Kids have drawn attention with a series of demos and 7 inches and splits, and the buzz on the band was based around their teenage years and the fact that Deathwish saw enough in them to take them on. But throw out label backing and the novelty of youth, and you’re left with a band that is crafting fresh hardcore in a scene known for photocopying itself into oblivion. This band brings basically everything to the table. Harsh, aggressive vocals from three people, energy to power a room several hours beyond the allotted 45 minutes, and just enough outside-genre influence to keep things interesting. The song titles of their full length come with two forward slashes (//) in the middle, differentiating movements within the song (assuming sub-two minute hardcore can have movements). The result is several tempos, several rhythms…several songs, really, within each track. It sent the punx smashing into the stage during COK’s harsher moments, and easing back with the tide during their shoegaze explorations.
When Gaza finally took the stage (and their vocalist the floor), they were embraced by a crowd battered aurally and physically. Of the three acts, Gaza’s music is probably the most punishing. They bring atonal noises that are glued together into riffs, constant screaming, and they leave the melody at home. It’s like mathcore, but even more atonal. It’s grind, but longer and more immersive. It’s challenging. And it’s dark.
In fact, Gaza’s music is so dark that it’s difficult to even mosh to it. While Full Of Hell and Code Orange Kids inspired flying bodies, Gaza gives forth such a brutal critique of humanity that the weight of their sound left the crowd with their heads bowed and their feet rooted while their giant singer sermonized above them. Gaza played a really healthy mix of tracks from all three of their records, and between tracks their vocalist walked around the circle of bodies in front of him criticizing American culture and apathy.
The three bands didn’t have a lot in common with each other as far as sound, but all of them drew influence from enough disparate places to keep them all unique entities of their own. That night at Aladdin Jr was a night of tempo changes, feedback, and busted ear drums, and no one left disappointed.
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