Something in the Water | THE WELL @ MilkBoy

PLQ MRX

“Nightmare theater” is probably the best way to describe PLQ MRX. They’re kind of like a culmination of every cult 80s slasher film in musical form. Or at least a musical interpretation of “Killer Klowns From Outer Space.” Coming onstage with each member fully dressed in colorful clown outfits (and one that seemed like an allover print body suit of a Kiefer Sutherland portrait?), the vibe was sort of Slipknot by way of Rob Zombie’s early filmography, but with a big splash of psychedelic, acid-trip rainbow swirl.

Musically, they’re a mixture of metal, thrash, and hardcore in its various flavors. From the utilization of a megaphone, trombone, and saxophone to electronic clips and amp feedback used for melodic purposes, they didn’t hold back in putting out the exact type of chaotic energy you’d expect from a band that comes on stage dressed as psychedelic murder clowns.

It was a pretty wild sensory experience from start to finish and, despite the display, which included a looped video of trippy visualizations that included some morbid imagery featuring autopsy footage, extreme closeups of a nude and bound woman dancing, and even scarier clowns than their outfits, the band kept their set moving at a clip.

If you’re looking for a healthy dose of theatricality added to your metal shows, look no further.

MOON DESTROYS

“Wall of sound” was a phrase often used at the height of shoegaze. It invokes the sense of a band sounding Big with a capital “B.” Songs like “Soon” by My Bloody Valentine are emblematic of that for me. Just a hypnotic wave of distortion, repeating patterns, grooving bass, dreamy vocals, and, most often, drenched in reverb. It’s one of my favorite types of music, and it elicits a weird sense of connectedness to the instrumentation that I don’t always get across other genres.

So if “wall of sound” is a thing, then I can confidently tell you that Moon Destroys offer a “tsunami of sound.” They harbor the same hypnotizing components of the shoegaze greats while absolutely rocking the fuck out. The riffs are massive, and the interplay between rhythm and lead guitar creates a psychedelic odyssey woven within the smashing wave of guitars that overwhelm your senses.

All four band members were absolutely on fire and proved critical to the cohesiveness of the sonic wave they produced. From deep, droning bass grooves, to powerhouse drum kit smashing, to Kim Thayil-coded leads, to rhythmic riffs that could have brought down the Berlin Wall, these dudes are just awesome. 

This is a band that I had never heard before, and they have my full attention. Secret Machines x Basement x Smashing Pumpkins, along with a litany of other legendary influences, were effortlessly displayed throughout their performance. They even teased the intro of “She Sells Sanctuary” by The Cult before diving into their own original, proudly-influenced-by-said-legendary-lead-guitar riff. If I had a “vibe” that I can easily connect to artists, it’s bands like them. Creative and heavy guitar riffs that just have that 90s-alt-rock flavoring are my bread and butter. Think: the album Colourmeinkindness by the aforementioned Basement. Or the songs “Mona Lisa” by Colour Revolt or “Long Lean Queen” by Bear Hands. But with Moon Destroys, take those alt-rock tendencies, tune the guitar down a full octave, and let it rip into another dimension.

That’s the good stuff.

There’s not much more I can say other than to implore you to seek these guys out and give them the proper attention they deserve. Their musical showcase deserves the same level of energy back as they put out and, for a band that sounds a thousand feet high, I’m not sure they can remain contained to tiny venues on a Tuesday night. 

THE WELL

Another Austin psychedelic-coded band, another great performance.

There is either something in the water in Austin, Texas, or there’s some kind of psychedelic, alternative rock magical force field permeating the region. 

The Well pack a massive punch in a small package of three. Deftly blending heavy, deep bass riffs with anthemic vocals, guitar riffs that cut through the fabric of reality, and a factory of power behind the drum kit keeping it all in time, they simply rock.

There’s no pretentiousness, no kitschy display of psychedelia-coded wizard vibes, just three individuals who know how to get on stage and melt the faces of their audience with the purity of their sound. If anything within the realm of Melvins-influenced stoner rock is your vibe, this is a band to include in your rotation. From early The Sword-era riffage to Sasquatch’s droning crunchiness, to Castle Rat’s doom metal vibes over melodic songwriting abilities, The Well clearly draw from a deep, well… well… (sorry, not sorry) of influences.

On the cusp of releasing a new record, the band’s setlist was a tour of both the old and new, including an unreleased tease of what’s to come. In short, their sound remains consistent. They’re heavy, musically exploratory, and tightly centered.

For an extremely tired guy on a Tuesday night, I had a great time witnessing some quality rock and roll for a few hours. It’s further proof of my theory that you could spin a Philadelphia concert venue wheel on any given night, go in blind, and find something new and exciting to enjoy.