Power Pyramid doesn’t have much patience for nonsense. That appears to be the takeaway from the Oklahoma City quintet’s last 10 months, which brought The God Drums in September, the Insomnia EP in January and its latest, self-titled effort in July.
The world is in the midst of an electronic music renaissance, and you find most of this boon of producers laying claim to the club-friendly, bass-dropping variety, holing up in the the free-flowing world of hip-hop beatmaking or pitching their tent on the out-there, boundary-pushing EDM camp.
Broncho has never been hurting in the hook department. The success of the trio’s 2011 debut, Can’t Get Past the Lips, was predicated mostly on its ability to marry melodies with kinetic guitar riffs and anarchic energy. Yet we’ve heard nothing to the degree of pure pop catchiness on display in “Class Historian,” the new single from Broncho’s upcoming sophomore album, Just Enough Hip to Be Woman.
No one wants to be forgotten; everyone wants some sort of legacy, a mark they leave behind as they exit this life for whatever lies beyond.
And for as long as there has been death, there have been monuments — whether austere or understated, abstract or concrete, prominent or tucked away in private — erected by the ones they loved to assure that remembrance, at least for a time.
Baby Tears with The Fucking Party and The Copperheads 8 p.m. Friday The Conservatory 8911 N. Western conservatoryokc.com 607-4805 $5
History doesn’t foretell too much in the case of Baby Tears. The noise-rock trio from Omaha, Neb., possesses an unpredictable track record of gigs that makes it impossible to pinpoint exactly where the next one will go.
“There is no typical show with us,” said guitarist/vocalist Todd VonStup. “It’s unstructured in a good sense. Sometimes we’ll play four songs and the rest is just noise and feedback. You and I will never know what’s coming beforehand.”
It’s a perfect match for the band’s signature sound, a purposefully harsh and scratchy one more concerned with expanding the bounds of music than cozily fitting into popular song structure.
The dark and ominous vibe comes from the group’s affection for the likes of Dwarves and Slayer, and the finished product paints an effective portrait of Buffalo Bill’s underground prison, albeit a smidge less sinister than the band’s seemingly cruel moniker.
The music is a stark contrast to VonStup’s work in rowdy party-punk band The Shanks before that outfit threw in the towel a couple of years ago.
“This one feels very unstructured. We can do whatever we want,” VonStup said. “We can do a noise set, something really droney, or we can do these 60-second punk rock songs. It’s fun to play all the different styles of music we like, write it and make it our own.”
Although unstructured — and, by extension, rather chaotic — Baby Tears represented a challenge to VonStup, where his musicianship needed to be ratcheted up a notch.
“I was used to this really sloppy, drunken music,” he said, “and I’ve had to tighten up to play with people who are really good with their instruments.”
That controlled chaos made its way onto the band’s recently released 7-inch effort “Homeless Corpse” and free-fordownload, debut full-length album “Rusty Years,” a proud moment for all three of Baby Tears’ members.
“We did the whole thing from start to finish,” VonStup said. “We wrote all the songs, recorded all the songs, mixed all the songs. We did all the artwork ourselves, and it’s something all three of us have wanted to do.”
The band plans on hopping back to recording sometime very soon, with ideas for a cover EP (tracking anything from metal to country favorites) and a full experimental disc dedicated to pure noise.
VonStup said, “We are wanting to cover all corners of music.”