All of the staple elements that make up this band’s apocalyptic midnight sound are still in place: driving guitars droning, lonely bass lines, aching, echoing saxophone, urgent, desperate tom and bass drums that sound like they’re being bludgeoned mercilessly with mallets. And those vocals!

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Our friend Jane was like a waitress, and when she’d fuck up at work, she’d be like, “Oh, sorry, I was in a K-hole!” And then, we were like, that’s really funny, because no one even talks about K-Holes! That’s like a… gone term. Does anyone even do K? And then our friends asked us to be a one-off month band, and they were like, “Just be something stupid!” And we were like, “We’ll be the fucking K-Holes! That’s really stupid.” And we did it, and then everybody liked it, and they asked if we wanted to play again, and we were like, “Okay …”

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Daze of Heaven impressed me the most, if for nothing else because this guy approached loop-driven music from the exact opposite perspective of most one-man bands that might play Pehrspace or the Smell. Instead of creating beats with his mouth or a machine and then using that as a platform to make noise atop the beats, Daze of Heaven sets up his soundscape first, blasting his clarinet into the mike, then putting sounds from his mouth and from found feedback (I’m talking serious crackle, the kind of hiss that sounds like rain hitting drywall) into the mix. When he’s all done setting up the sound, this dude jumps into his drumset, which he plays standing up, in attack mode, almost at random and yet synced somehow with the swirling noise mess he’s cocooned around himself.

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The K-Holes are witches in punk clothing that bring strangled messages forgotten long ago by modern society. By combining the most primal, relentless forces of nature with a relatively palatable (or at least familiar) punk/goth façade, the K-Holes have created the scariest new music I’ve heard in a long time.

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