Oakland’s Fox Theater thumped like a giant beating heart on the night of Wednesday, March 5th, when it hosted Belarusian post-punk doomers Molchat Doma, along with Los Angeles-based synth-punk duo Sextile.
I was thankful to have my earplugs in when the show started — Sextile was LOUD. The soundwaves of bass boomed across the concert hall and pulsated through my body like mini explosions. Sextile’s brand of post-punk involved high-energy beats and bouncy dancing, not unlike goth-infused EDM. At the same time, Sextile demonstrated their songwriting range, performing moodier songs that evoked the spirits of new wave and shoegaze, with “Crash” as a particular standout in their set.
Sextile was also fun! Melissa Scaduto, one half of the duo, opened the set by running back and forth across the stage waving a large white flag that bore the band’s name, her hair fluorescent under the stage lights. Brady Keehn, the other half of Sextile, took turns with Scaduto belting out lyrics heavy with angst and punk attitude. The duo was joined onstage by drummer Lia Braswell, whose playing was my unexpected favorite of the whole evening. Even though Braswell stayed behind her minimalist drum kit throughout the set, she was up jumping and dancing to the songs, never missing a beat. Sextile ended the set with yet another flag run, this time with a banner reading “Abortion Rights Now!” The crowd roared in support.
Molchat Doma took to the stage after intermission, and the vibe shifted to a darker, more haunting atmosphere. Throughout their set, the steady bass undercurrent kept the collective heart of the night beating. The band played all of the songs from their new album, Belaya Polosa. “Черные Цветы / Chernye Cvety” highlighted Roman Komogortsev’s washy, atmospheric guitar, while lead vocalist Egor Shkutko brooded over the lyrics, his voice inflected with a sense of longing. The more industrial leaning songs, “III” and “Я Так Устал / Ya Tak Ustal” in particular, were full servings of Perestroika post-punk sentiment, a glimpse of what could have been if Factory Records sprang up in Minsk instead of Manchester.
Shkutko captivated the audience’s attention during the entire concert. His sonorous, baritone voice entranced the crowd with sweet melancholia. I did not understand a word of the lyrics, nor was I familiar enough with their translations, but I could feel the pain when he wanted to convey it. Shkutko’s singing was accompanied by twisted, contorted dancing that matched the deep, primal emotions emanating from his singing.
Shkutko’s performance was enhanced by the superb lighting design, and I dare not finish this review without giving my commendations to it. The colors chosen for the lights were saturated and vibrant, reminiscent of the hues found in a 1980s poster. A touch of fog softened the intense colors, making Shkutko glow with an ethereal aura. More than anything, the lighting choices felt appropriate, coherent with the mood and the era from which the band takes inspiration.
Molchat Doma wrapped the concert with an encore of hits from albums past, notably the doomer “Клетка / Kletka” and the chilling “Судно / Sudno.” The house was anything but silent.
Review by Janine Bedon, photography by Anette Brecko
