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


“Brooklyn trio Sannhet is an instrumental powerhouse. On So Numb, they shake loose of their black metal and post-rock roots, making heavy music with their own beautiful language.” – PITCHFORK 8.0

“The album is shrouded with a sense of dark foreboding but interlaced within the melancholy and dread is an uplifting, euphoric ambience that pokes fleetingly through the dark clouds.” – THE INDEPENDENT UK

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.


Founded in 1991 by Norm Veenstra and Gregg Hudson, TONE has relentlessly explored the often unpredictable, always epic sonic path of a dedicated instrumental ensemble. Based in Washington DC, Tone primarily performs with three electric guitars, bass guitar, and drum kit. The band is known for guitar-based instrumentals dedicated to dynamic contrast and textrues not normally found in rock music. Long recognized as a precursor to the post-rock instrumental scene (Mono, Explosions in the Sky, Do Make Say Think, Maserati, godspeed you! black emperor), Tone’s style is dense and heavy, yet surprisingly emotive. Rolling Stone described their SXSW performance: “Tone (DC): three guitar post-rock army fills every available space with sound, makes an outdoor show sound like an indoor show.”

Tone has proven itself an enduring underdog among its hometown pack of storied punks, many of whom have filtered through the group’s ranks over the years. The band at one time or another has included members of Government Issue, Teen Idles, Unrest, Edsel, Pitchblende, and Thud, just to name a few. Currently a five-piece band, the ranks of TONE have swelled to as many as nine through the years to include multiple guitarists, bass players and drummers. At times TONE has performed with string and horn players, even dancers. From 2004 to 2006, a collaboration with The Bowen McCauley Dance Company resulted in performances at the Kennedy Center in Washington, D.C., a festival appearance in Aachen, Germany, and a set of intense new works. TONE has performed in numerous venues throughout the Eastern U.S., in Europe, and at SXSW in 2010.

Tone has produced seven albums, including their most recent release, Antares, available on Dischord. Previous recording are available from The Kora, Dischord, Independent Project, and Neurot Recordings.