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Sat Nov 11 | all ages
Sannhet
SHOW
8:00 pm
DOORS
7:00 pm
$12 | Advance
$12 | Day of show

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The​ ​cover​ ​of​ ​Sannhet’s​ ​third​ ​album,​ ​​So Numb,​ ​features​ ​a​ ​mother​ ​shielding​ ​her​ ​son’s​ ​eyes​ ​with her​ ​hands​ ​-​ ​an​ ​allegory​ ​depicting​ ​the​ ​protection​ ​one​ ​receives​ ​from​ ​their​ ​parents,​ ​but​ ​it​ ​isn’t meant​ ​to​ ​be​ ​sentimental.​ ​As​ ​the​ ​mother​ ​shelters​ ​her​ ​child,​ ​she​ ​inadvertently​ ​creates​ ​a​ ​false sense​ ​of​ ​safety.​ ​The​ ​child,​ ​in​ ​turn,​ ​spends​ ​it’s​ ​life​ ​seeking​ ​comfort​ ​and​ ​escape​ ​in​ ​temporary solutions.

Though​ ​Sannhet​ ​meditate​ ​on​ ​life’s​ ​imperfect​ ​escapes,​ ​​So Numb’s​ ​nine​ ​songs​ ​showcase​ ​the band​ ​facing​ ​life’s​ ​pain​ ​and​ ​joy​ ​with​ ​their​ ​eyes​ ​wide​ ​open.​ ​The​ ​collection’s​ ​emotional​ ​landscape​ ​is one​ ​of​ ​existential​ ​dread,​ ​melancholy,​ ​and​ ​loss​ ​-​ ​ammunition​ ​for​ ​escapists.​ ​Despite​ ​these existential​ ​conundrums,​ ​So​ ​Numb​ ​has​ ​an​ ​uplifting,​ ​euphoric​ ​feel.

The​ ​collection​ ​was​ ​recorded​ ​and​ ​produced​ ​by​ ​Peter​ ​Katis,​ ​who’s​ ​known​ ​for​ ​his​ ​work​ ​with Mercury​ ​Rev,​ ​Interpol,​ ​the​ ​National,​ ​and​ ​Oneida​ ​among​ ​others.​ ​Working​ ​with​ ​Katis,​ ​the production​ ​illuminates​ ​a​ ​more​ ​open​ ​sound​ ​for​ ​the​ ​band.​ ​While​ ​Sannhet’s​ ​second​ ​album,​ ​2015’s Revisionist,​ ​was​ ​bigger​ ​and​ ​harsher​ ​than​ ​their​ ​2013​ ​debut,​ ​​Known Flood,​ ​they​ ​offer​ ​a​ ​more wistful,​ ​melodic​ ​approach​ ​here.

The​ ​first​ ​track,​ ​“Indigo​ ​Illusion,”​ ​opens​ ​with​ ​Christopher​ ​Todd’s​ ​eviscerating,​ ​but​ ​anchoring drums​ ​locked​ ​in​ ​with​ ​AJ​ ​Annunziata’s​ ​driving​ ​bass​ ​and​ ​John​ ​Refano’s​ ​clamoring,​ ​unexpectedly coaxing​ ​guitar​ ​melodies—the​ ​song,​ ​a​ ​muscular​ ​anthem​ ​that​ ​mixes​ ​feedback​ ​and​ ​space,​ ​ends up​ ​sounding​ ​like​ ​a​ ​million​ ​crystals​ ​shattering​ ​in​ ​a​ ​dark​ ​room.​ ​Alternately,​ ​the​ ​heavier,​ ​more solemn​ ​and​ ​cavernous​ ​“Fernbeds”​ ​finds​ ​added​ ​pathos​ ​from​ ​guest​ ​guitar​ ​leads​ ​by​ ​one-man shoegaze-metal​ ​artist,​ ​Planning​ ​for​ ​Burial’s​ ​Thom​ ​Wasluck.

As​ ​on​ ​past​ ​Sannhet​ ​albums,​ ​the​ ​song​ ​titles​ ​are​ ​evocative​ ​(“Sapphire,”​ ​the​ ​churning​ ​“Sleep​ ​Well,” “Fernbeds,”​ ​“Way​ ​Out”),​ ​but​ ​not​ ​prescriptive.​ ​By​ ​the​ ​time​ ​you’ve​ ​gotten​ ​to​ ​the​ ​drifting,​ ​airy “Salts,”​ ​it’s​ ​clear​ ​Sannhet​ ​has​ ​become​ ​a​ ​more​ ​patient,​ ​painterly​ ​band.​ ​The​ ​collection​ ​ends​ ​with the​ ​massive​ ​“Sleep​ ​Well”​ ​followed​ ​by​ ​the​ ​eerie,​ ​ambient​ ​“Wind​ ​Up.”​ ​Those​ ​two​ ​songs​ ​offer​ ​a good​ ​example​ ​of​ ​what​ ​the​ ​band​ ​does​ ​well:​ ​moving​ ​between​ ​extremes​ ​to​ ​create​ ​a​ ​dynamic​ ​that feels​ ​both​ ​climactic​ ​and​ ​anticipatory,​ ​dramatic​ ​and​ ​comfortably​ ​calm.
Sannhet​ ​have​ ​always​ ​been​ ​hard​ ​to​ ​classify.​ ​Since​ ​2010,​ ​the​ ​Brooklyn​ ​trio’s​ ​played​ ​instrumental music​ ​that’s​ ​heavy​ ​and​ ​light,​ ​cinematic​ ​and​ ​intimate,​ ​dense​ ​but​ ​minimal.​ ​You​ ​could​ ​call​ ​them “post”​ ​something,​ ​​ ​“experimental​ ​metal,”​ ​or​ ​“math​ ​rock,”​ ​but​ ​none​ ​of​ ​that’s​ ​quite​ ​right​ ​and​ ​the band​ ​has​ ​thrown​ ​another​ ​wrinkle​ ​into​ ​the​ ​mix​ ​with​ ​​So Numb.​ ​While​ ​they​ ​don’t​ ​write​ ​lyrics,​ ​they do​ ​write​ ​subtexts.​ ​They​ ​pen​ ​love​ ​letters,​ ​extended​ ​epistles,​ ​and​ ​suicide​ ​notes,​ ​all​ ​without​ ​words. With​ ​So​ ​Numb,​ ​Sannhet​ ​create​ ​a​ ​new​ ​world​ ​out​ ​of​ ​very​ ​few​ ​ingredients.