Back to All Events

Thalia Zedek Band, Quattracenta, Insect Factory


Saturday, December 15, 2018
Thalia Zedek Band, Quattracenta, Insect Factory
$10 - Doors 10:00pm - All Ages
at Comet Ping Pong

Thalia Zedek Band

Thalia Zedek is an unparalleled voice in rock music. Her music straddles the line between intimate and visceral. Zedek has received wide acclaim for her intense vocal performances and guitar playing in past projects Come, Uzi, Live Skull, and most recently her new trio E with Gavin McCarthy (Karate) and Jason Sidney Sanford (Neptune). Since the dissolution of Come, Zedek has focused her solo efforts on more vulnerable, stripped back arrangements. Her new album Fighting Season combines the grit of her past with the fragility of her solo releases, spinning tales of discord and struggle from the personal to the political and featuring performances by old friends Chris Brokaw (Come) and J. Mascis (Dinosaur Jr.). Through her exceptional songwriting and performances, Thalia Zedek’s fervent passion can be felt more than ever on Fighting Season, from blustering swirls of dissonance to hushed whispers.


Quattracenta's sound is dark and atmospheric. Dispirited emotion combines with melody and power to create haunting songs that are eerie, surreal and smart. Dark, dulcet tones creak from the belly of her guitar, while Sarah Matas sings at the edge of her breath, using as much air as inflection. Her lyrics vacillate between intimate snapshots and panoramic vistas that lament love, life and loss. Beneath this landscape, a driving bass pushes forward to create a sinister tension. Pierced by brightness of the lead guitar and steadied by the notably tonal percussion of the drums, each instrument stands alone in its unique contribution yet combine together to form a lush, velvet darkness. Their debut EP with J Robbins of Magpie Cage Studios, was released on 20/20 Records and Tapes and is distributed through Dischord Records.

Insect Factory

"Barsky's work as Insect Factory is remarkable because he manages to avoid that pitfall of over-effecting his guitar work into an indistinct mass of noise, yet enough so that the album often bears little resemblance to the instrument. This ends up being abundantly clear from the opening moments of "We’re All Just Here for the Money." The shimmering melodies that appear early on sound more traditional, but the synth-like pulses are distinctly alien in comparison. By the end, the piece is a complex structure of interlocking layers of playing and treated loops, but one that retains a sense of form and order." (Brainwashed)