There’s no party like a Mothland party. With a sea of concertgoers dressed in black, shitty beer freely flowing, and an industrial buzz all around, it’s a familiar scene as we step into Théâtre Plaza for the double album release of Victime and Yoo Doo Right.
First though, we witnessed the first-ever show from We Owe, the solo project of Christopher Pravdica (Swans, Xiu Xiu). Armed with his bass and backed up by Brian Chase (Yeah Yeah Yeahs) on drums, Pravdica launched into a trance-inducing medley of industrial noise that lurched forth like heavy excavating equipment turned over for the first time in decades.
With some kind of effect that doubled his bass, We Owe sounds like the work of far more than a duo, both of whom skillfully wield their instrument with a satisfyingly playful ease. Each grinding virtuoso seemed to have more composite parts than the last, like an ever-taller sonic Jenga tower that, against all odds, was still standing tall by the end. For fans of adventurous, hypnotic instrumentals, We Owe’s second show (whenever that will be) is sure to please.
Sandwiched in the bill was Victime, who debuted their latest release En conversation avec (2024). There’s an urgency to this post-everything power-rock trio that borders on pained at times, with lead vocalist Laurence Gauthier-Brown often doubled over as she delivered growling proclamations and catalytic climaxes. Freeform, aggressive, and impossibly abstract, Victime’s sound crawls down your spine with its doom-bringing bass, screeching guitars, and frenetic, unpredictable percussion. It’s a sound that denies the convenience of drama, insisting on its own complicated tapestry of influence that feels impossible to parse. If it seems like I’m reaching in my attempts to explain Victime’s sound, it’s because I am. If you like it rough, Victime is more than happy to oblige.
Finally, it was time for Montreal darlings Yoo Doo Right, whose sound was pre-empted by their utterly ridiculous stage set-up of towering amp stacks. As I watched each cab get switched on, I pushed my earplugs in and braced myself for the noise. Yoo Doo Right’s new album, From the Heights of Our Pastureland is utterly anxiety-inducing—panicky, shallow breaths that never reach the bottoms of your lungs, leaving your shoulders heaving and your heart racing. They stride through change upon change, never staying in the same place long enough to let you get your footing. The album’s cover art (a diabolically apocalyptic-looking tornado) couldn’t be more appropriate for the music. It’s a hellish maelstrom, debris, and dust whizzing by faster than you can identify it, all while a low, dreadful roar fills your body beyond its limits.
Fortunately for me, there was a welcome reprieve near the end of this set as the band got stuck into their the track “Lost in the Overcast,” featuring a sombre but beautiful section from two guest trumpet players (who were utterly drowned out by a wall of bass for the rest of the performance). This track feels as though the clouds are parting, as rays of sunshine cautiously reach out and kiss the scars the storm left behind. It’s gorgeous, complex, and contemplative, and was the highlight of their set. After this, we were treated to a few older cuts from just the original trio, who seemed completely intent on inflicting severe hearing damage to as much of the world as possible. Despite my ringing ears, it was a pleasure to watch Yoo Doo Right do right by their fans.
