The Catalyst

Meat Wave

Live in The Atrium

Meat Wave

Dasher, Rad Payoff

Fri, August 11, 2017

Doors: 8:30 pm / Show: 9:00 pm

The Catalyst

Santa Cruz, CA

$10 in advance / $12 at the door

Off Sale

This event is 16 and over

Meat Wave
Meat Wave
In late 2014, Meat Wave’s 24-year-old frontman Chris Sutter found himself facing the end of the
relationship he had been in since he was 12 years old. “When you’re in something like that for so long, it
doesn’t shield you from the world, but it softens your reality,” he explains. “A long relationship like that
gives you confidence.” He likens the experience of being single for the first time in his adult life to being an
Amish kid on Rumspringa. “I was just going nuts, making all the mistakes that you could make. It made for a
really whack, fucked up time—very confused, always unsure—and that led to a bunch of shit,” Sutter
laughs grimly.

The Chicago punks had already made their second album Delusion Moon, a hardcore blast that castigated
the weak excuses we ply for poor behaviour. That would come out in 2015. In the interim, Sutter started
keeping a notebook to try and document the profound mood swings and torrents of anxiety that he was
experiencing in the wake of the split, writing stream-of-consciousness poems about his feelings from day to
day, city to city. One term kept coming out: the incessant.

“I think that was the best way to describe this feeling—and I think a lot of people can attest to this—of this
overwhelming, oncoming emotion,” says Sutter. “Feeling overwhelmed by the biggest thing going on in
your life and the smallest fucking thing: they’re all oncoming, like dominos. It’s a swelling. A pyramid. A
crescendo. It stems from living recklessly. And selfishly. And regrettably. During this phase of my life, this
feeling would come up a lot—out to dinner with my dad, in the van on tour—and I never used to have this
kind of anxiety.”

Putting a name on it made Sutter feel a bit better. The Incessant became both the title and guiding light for
Meat Wave’s third album, but not before some wobbles on Sutter’s part. Whereas Meat Wave’s previous
albums had meted out judgements on the world, now he was writing brutally unvarnished lyrics about
himself: about his self-indulgence, arrogance, fear of the future, isolation, and feeling totally at the whim of
uncontrollable emotions. On tour for Delusion Moon, he began reflecting on the “grey cloud” he felt the
material would cast over Meat Wave’s past and future. “I got cold feet,” he says. “I had never written
music that was this personal and confrontational with the self. I expressed to the others that I wanted to
scrap the songs and start over, which they respected. I was uncomfortable to share songs with people that
reflected on a destructive period in my life.” But despite Sutter’s conviction, something in the back of his
head told him he would be a fool to abandon the material.

“There was this realisation that I felt like the music I had written prior to this was more of a defence
mechanism of sorts by not writing about what was going on in my life and not confronting myself, and
instead looking outward at other people and what they were doing,” he says. “There are artists like Fiona
Apple who I love and always look to—she bares herself and her soul and is so honest about her life, what’s
going on with her emotionally. I realised I could either write something that doesn’t mean as much to me
or I could write what means absolutely everything to me. I couldn’t keep doing the same thing. I had to try
and grow as a writer and musician.”

And thank god he did. The Incessant is a bracing, emotional punk record that confronts taking responsibility
for your actions with dark humour and self-deprecation, drawing influence from acts like The Breeders, Hot
Snakes, Drive Like Jehu, and, yes, Fiona Apple, as much as Franz Kafka’s Metamorphosis, Jeffrey Eugenides’
Middlesex and the poems of Emily Dickinson and Sutter’s friend Hannah Gamble. On that literary tip, Sutter
majored in journalism, and says his studies applied here more than ever. “I had this amazing professor
whose whole thing was—and it’s very simple, but it stuck with me—what we’re doing is trying to uncover
the truth, or truths. I applied that exactly to what was going on with me, because I tended to run away from
the truth or ignore it.”

He cites the assaultive vocals and terse riffs of opener “To Be Swayed” as one of the truest realisations of
that impulse. “My only question going into that song was, why the hell am I so wishy-washy and so
controlled by my very changing emotions? Trying to describe your true feelings is really difficult, really
exhausting, but I feel like I really nailed what I was experiencing.” That wave of changing emotions is
evident across The Incessant: Sutter is self-lacerating on “Mask” (written in a 10-minute blast after seeing
Thee Oh Sees live), the choppy “Bad Man”, and the spiny, drawling “Leopard Print Jet Ski”, whose ace title
came from looking an old friend up on Facebook one day, to find him bragging about having bought
precisely such a thing. “I loved everything about the phrase,” says Sutter. “How it looked, the imagery. It
stuck with me, and I viewed the leopard print jet ski as a metaphor for liberation and freedom and
confidence. The song is this ironic first-person narrative of fucking taking the leopard print jet ski out and
getting away from everything, in a very selfish, wrong way. It’s a metaphor for how I was living my life, and
much like a lot of other songs on the album, running away from my problems.”

Elsewhere on The Incessant, Sutter exposes his most vulnerable side. Sounding like a less jubilant
Japandroids track, “Tomosaki” is a nakedly sincere love song to the cat that he lost in the split, written
while ugly-crying on the floor of the shared apartment he was about to leave behind. “Entranced by the
mist of life / Does he sense I’ve gone awry? / My guy / Let him roam outside / Meditate on his afterlife,”
Sutter roars. “That was huge for me as a songwriter. I’ve never written a song like that. I think that’s the
power of something that touches you so deeply, like a cat that you’re not going to be able to see any
more.” On the Ella Fitzgerald-inspired lament “Birdland” and rampaging snippet “At The Lake”—propelled
by drummer Ryan Wizniak’s stark charge—he reflects on a loss of innocence, and ultimately finds serenity.

Bassist Joe Gac produced Meat Wave’s previous records, but for The Incessant, the three-piece achieved
their dream of working with legendary Chicago engineer Steve Albini, tracking and mixing the album in just
four days. “Between his music and the things he’s done, bands he’s recorded, he’s the real deal,” says
Sutter. “I don’t know if Joe would admit this, but the way he works and records, he’s like a student of
Albini. It felt like the next step for us, and it was a good, quick, raw experience.” Albini’s famed dynamic
range is best heard in “Killing The Incessant”, the record’s epic, raging crescendo of a closing song.
“Incessant / Tried to see it / Ended eaten / Though now fear couldn’t blanket me / No hand / Discriminates
the other / Here’s to killing / The incessant / I don’t need it / Here’s to killing / The incessant is defeated”,
Sutter rails in stark, stabbing fragments. A tumult of noise churns, before giving way to a peaceful
fingerpicked acoustic pattern.

“Towards the end of writing this album, I began to wonder exactly what the incessant sounded like,” says
Sutter. “Like, can I soundtrack that feeling? So that’s how the crescendo came about. All that fucking
tension. It was about shedding the ego. I think as humans we have more control than maybe we choose to
believe sometimes. So this is trying to put it all at ease. Reject the fear and shame and the things that
aren’t relative to my betterment and wellbeing. The acoustic ditty at the end is the sigh of relief. And a
moving-forward of sorts.”

Of sorts. In July 2016, Sutter was due in Denver to be best man at his father’s wedding. The week prior to
departing, he started feeling the same minor stomach pains that had plagued him (and which he had
ignored) a year earlier. Upon boarding the plane, the sensation intensified; once he landed in Denver, he
couldn’t sleep from vomiting and shitting all night long. His new girlfriend suggested that it might be his
appendix, so they took a trip to the emergency room. After a CT scan, the doctor confirmed Sutter’s
girlfriend’s suspicions, and said they had to remove the appendix—which was two to three times larger
than it should have been—immediately.

“I woke up unable to walk, or move,” says Sutter. “It was the most physically traumatic experience of my
life. I spent five days in the hospital—basically our entire vacation—and missed the wedding. The doctor
told us that it was in the top five worst appendectomies she’d ever seen, and that I could have died if I’d
waited any longer. I guess I’d had a ruptured appendix for about an entire year, and it had ruptured again
this past summer.”

Recovery took months, though he played shows against his better judgement. Sutter’s final face-off with
the incessant, that long, dark year of staring his darkest parts in the face, gave him a lot more empathy for
the people he used to slam in songs in the past. “In general, writing about what I was going through made
me more of a compassionate kind of person,” he says. “I think there’s a lot more to uncover within the self
than to look outward at what’s going on and annoying you around you.” Another grim laugh. “I wouldn’t
want to write a song bashing anyone, besides myself."
American post-punk band from Atlanta, Georgia. Now based in Bloomington, IN.
Venue Information:
The Catalyst
1011 Pacific Avenue
Santa Cruz, CA, 95060