New young faces of the music industry Black Midi (stylized as black midi) brought their blistering, off-kilter math-rock to a sold-out show at the Cat’s Cradle Back Room on November 15.
The band gained popularity across London before even releasing a single and then, in June of 2018, recorded “bmbmbm,” a refreshing blend of no-wave and noise rock, on Dan Carey’s record label Speedy Wunderground. The track led to Black Midi’s signing with London-based Rough Trade Records, on which the band released its much awaited full-length album, Schlagenheim.
Schlagenheim has the claustrophobic energy of an early Sonic Youth record, the odd song structures found in a Polvo record and the ever-increasing intensity and anxiousness of Slint—all over the course of 43 minutes.
Upon release, the album received critical acclaim. It gained the “Best New Music” appraisal from popular music site, Pitchfork, with a score of 8.2. The red borders Pitchfork placed on top of the album’s score were enough to warrant Schlagenheim instant popularity.
On its first world tour, Black Midi stopped in Carrboro, North Carolina, alongside underground rapper Fat Tony. The show at the Cat’s Cradle Back Room was one of only 15 shows the band played in America, making Black Midi’s presence in the small-town of Carrboro all the more special.
After a noisy introduction, the band launched into “953,” with its rapid guitar rhythm that pulls listeners ahead to each of the vastly different parts in the song. The chaotic thrill-ride was topped with Morgan Simpson’s fierce and impeccable drumming.
Cathartic, isolating and endearing, the band’s show mirrored Schlagenheim’s ambition, constantly moving from one idea to the other. The ten-song setlist showcased eight songs from Black Midi’s debut.
The band concluded the night with “bmbmbm.” Having a little fun, Black Midi turned the usual six-minute song into a much longer medley with audience members singing back lyrics to “I Am a God,” by Kanye West, and “Give It Away,” by the Red Hot Chili Peppers. Black Midi sometimes teased the audience with little pockets of demented noise, but mostly saved the sonic assault for the powerful 20-second ending that unexpectedly hit concert-goers in the gut with endearing power.
Although many stayed and begged the band to play an encore, Black Midi never returned to the stage, leaving their passionate fans behind. While most headlining acts always provide an encore, Black Midi opted to maintain their secretive mystique. The band seems to always do the unexpected.
