We know D.C. Get our free newsletter to stay in the know.
Most bands won’t be considered a bridge between musical genres. Most bands won’t make records with a sound so timeless that, 20 years later, it still sounds fresh. But D.C. was blessed in the ’90s with Lorelei, who did both. Last night at the Black Cat’s Backstage, with a little assist by Puff Pieces and Edie Sedgwick‘s Justin Moyer, the band reunited to play their seminal debut album Everyone Must Touch the Stove from start to finish, and the noise was glorious. Lorelei’s sound—that bridge between the muddy sound of ’90s grunge and the more modern post-rock style that followed—was very different for that time. Filled with multiple time changes, songs were often a combination of ethereal lulls into sonic freak outs, and vice-versa. Think Mudhoney covering The Cure. And “freak out” means just that; Other than Mike Watt, very few bassists are prone to break strings like Stephen Gardner last night.
Regarding the album’s quirky title, drummer Davis White said “It was my turn to name the next record. Around that time, Drew Barrymore was in-and-out of rehab. I’d read an interview with her, and her response to why she’d been in rehab so many times since she was young was, ‘Everyone must touch the stove.’ I thought, ‘Wow that would be a cool name for a record, even if it is a little long.'”
Lorelei was only around in its current formation for four years, but the band and their label, Slumberland Records, really showed the rest of the world that the D.C. music scene was so much more than punk.
See photos from the show in the Gallery.