Folks, we had a blast at Prototype 237 on Saturday night. I’m pretty sure local seismographs picked up all of the heavy vibrations emanating from downtown Paterson as we rode the waves of droning distortion in the former factory building. Every act gave it their all, and took us onto sonic journeys that would feed directly into the next act’s energy. A massive thank you to Bent Light, Emily Robb, The Early and Big Acid for jamming and bringing great vibes to Passaic county when we needed them most. Also massive thanks to Alex Pergament at Prototype for co-presenting, doing amazing sound work and for hosting this night of big noise from their home.

Bent Light started off the night right with a surging sound bath of heavily processed guitars, hypnotic loops and a flurry of effect pedal and sampler knob-twisting. Michael Slyne and Russell Linder set us adrift through foggy seas of cosmic drones, rising crescendos of howling distortion and sweeping waves of pure sound built up out of layers of intensely manipulated guitar and field recordings.

Slyne and Linder steered us through tranquil and turbulant sonic pools, and guided us safely into the unchartered zones our ears would be treated to later in the evening.

Check out the latest by Bent Light:

Emily Robb came up on stage next, slung on a sunburst Decca semi hollow-bodied guitar that Sister Rosetta Tharpe might’ve preferred, and proceeded to utilize her entire instrument to create an extended storm of distorted fuzz.

She utilized a minimalist approach to playing that emphasized the deep woody resonance and entrancing qualities of the tone of her axe. Her set-long piece was like a Link Wray boogie deconstructed and magnified to a micro-level, while she thoroughly explored and jammed on the very essence of his primal riffs.

While doing everything from slashing a looping motorik rhythm out of her guitar to sliding a cello bow across its strings and orchestrating fierce feedback through her amp, Robb heavily accentuated and reveled in the texture, grit and fire lurking within the very DNA of rock and roll guitar itself.

Check out Emily Robb’s latest record:

The Early had the inevitable task of following these two major performances, and yet, they met the challenge and played a stunning set with a sacred, almost ritualistic focus.

Totally charged from the energy and strong vibes of the previous two acts, Alex Lewis (guitars and synthesizers) and Jake Nussbaum (drums and electronics) channeled the rhythm of bouncing rain drops, rolling city buses and rising summer breezes through their post-rock ambient jazz soundscapes. With ricocheting drums, jangling percussion and atmospheric guitar that struck a balance between the subtle and the chaotic (I personally loved how Lewis at one point played a small radio through the pickups of his guitar, creating waves of bent static over Nussbaum’s angular beats). After being such a big fan of their records over the years, it was such a delight to finally see this immensely creative and original duo in action. I was equally mesmerized and overjoyed by their transportive set. I strongly urge each one of you to catch them live someday!

Check out the latest LP by The Early, which can now be found on Island House Records:

Finally, closing the night we were treated to 2/3rds of Big Acid (guitarist Matt Hurley had to sit this one out) pummeling our ears as a drum and bass duo. Despite lacking a guitarist, they rocked out so heavy and loud, they sounded like a 5-piece. Utilizing loops and effect pedals, John Paul Carillo (also of Joy on Fire) made his bass sound like a guitar, an organ and all of the Syd Barrett-era Pink Floyd at once, while Neil Ghazaii attacked his drum kit like a beast. This was such a sick dose of unhinged psych-infused rock, we only wanted more by the time the evening drew to a close. We cannot wait to see the full band in all its glory some day soon. Jersey heads will actually get a chance to see them at Soupçon Salon in Lambertville this month, so please keep an eye out for that.

There is something so fitting about bringing such heavy vibrations back to the heart of the nation’s first intentional industrial city. The thunderous, disorientating sounds almost harkened the ghosts of the historical building’s early past. Hearing this kind of music felt so right within these brick walls, which I’m sure is a feeling that everyone in attendance could agree with. The love in that room that night for uncompromising sounds, experimental form and improvisation that requires slow, deep listening was very palpable. All of us there, musician or otherwise, locked in and traveled through the static surf and let the music carry us to distant terrains.

-KH