The three-piece played through its catalog of material, about ten-odd splits and EPs and three LPs, including 2010’s Skin Graft release March To The Sea. With the band’s compositions of near-improved noise (think free-form jazz, but more invasive) coming out of one guitar via two amps, a drum kit and voice synthesizers, AIDS Wolf pushes past the point of musical arrangements to art pieces with no set rhythm, no patterns, and no repetition.
Guitarist Alex Moskos bent guitar strings to alternate between making
slow moaning sounds and higher pitched wails, while vocalist Chloe Lum swayed back and forth. Meanwhile drummer Yannick Desranleau lifted his hands high above his head, releasing devastated blows to his drums and cymbals and stood up in between songs as if he couldn’t bare to sit still. Lum spat beeps and blips through her mic, rocking and jerking with the crowd pulsating beneath her, with the blue stage lights casting long dark shadows on the paint-splatter wall behind them. By the time AIDS Wolf was done and the band’s chaotic set came to a halt, the trio proved that its trademark sound cannot be confined to convention.