From the alt-country of the Geraldine Fibbers to the industrial rock of Ethyl Meatplow, L.A.-based mainstay Carla Bozulich has bounced around genres, but it seems as if séance rock is her specialty, if her Pop Montreal set was any indication. The material felt as if it were designed for the dark basement of the Piccolo Rialto: ominous ambient transitions and extended passages reverberated menacingly, lingering but never lulling, and her rotating roster of backing musicians beefed up the arrangements, constructing a sonic cavern of haunting instrumentation and a cohesive vibe that was spooky yet compelling.
Two cuts near the end of the night really knocked the set out of the park. "Artificial Lamb," released under Bozulich's Evangelista project on 2011's In Animal Tongue featured low-pitched buzzing synthesizers and provided great contrast to her impassioned, yelping vocals, while the creative percussion on set closer "One Hard Man," from Bozulich's newest release, Boy, began with a synchronized percussive breakdown and Bozulich charismatically singing, chanting and percussing to wrap up her set on an eerie, unsettling note. Bozulich's music is fantastic; that she's a great performer only makes it better.
Two cuts near the end of the night really knocked the set out of the park. "Artificial Lamb," released under Bozulich's Evangelista project on 2011's In Animal Tongue featured low-pitched buzzing synthesizers and provided great contrast to her impassioned, yelping vocals, while the creative percussion on set closer "One Hard Man," from Bozulich's newest release, Boy, began with a synchronized percussive breakdown and Bozulich charismatically singing, chanting and percussing to wrap up her set on an eerie, unsettling note. Bozulich's music is fantastic; that she's a great performer only makes it better.