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05 - Oct
(Nearby Event: )
Where:Beat Kitchen, 2100 W Belmont Ave, Chicago, Illinois, United States, 60618

When Plague Vendor were about make their new album By Night, singer Brandon Blaine didn't exactly know what he wanted it to sound like, but he did know what he wanted it to look like. "A house that's falling apartbut lit uplike crazy," he says now, six months after finishing a record that captures that exact feeling of ruin and regeneration, of charisma and catastrophe and of slashing at the night with nothing but pure electricity. Where 2016's BLOODSWEATended with a to-be-continued moment and Blaine shouting "Romance!" into the silence, By Nightends with a second of feedback and noise. It's a perfectly spent finish to an adrenaline rush of a record that asks, "What just happened?"Plague Vendor are already usedto making nothing into something. It's a place where the only way things happen is if you make them happen. A fearless our-way-is-the-hard-way work ethic and famously physical live shows won the band a ferocious fan base, a flash-bang debut album and place of pride on the Epitaph Records roster. When they called that album BLOODSWEAT they might've just been explaining what it took to make it. (Or they could've just been talking about those live shows.) And when they stepped back into the studio in the latesummer of 2018, they were ready again to do something new. They spent eleven days locked in at Hollywood's legendary EastWest Studios (Brian Wilson, Ozzy Osbourne, Iggy Pop) with StVincent/Chelsea Wolfe producer John Congleton, with all visitors banned and all distraction eliminated. (Well, one blood relative has was allowed once.) Theyhad the instinct to delay the sessions until they knew they could get Congleton, and when they met, they connected intensely and instantly, more like co-conspirators thancolleagues. They would even complete each other's sentences, says drummer Luke Perine. With Congleton's precision production, they found their own way between the powerful-but-too-polished sound of right now and the engaging-but-aging reinterpretations of

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