New Jersey shoegazers all under heaven drum up pillowy catharsis at Encore

all under heaven. // photo by Miguel Gonzales

It is no secret the shoegaze revival hit its stride over the last few years. Fresh new acts are multiplying in the ever-growing generation of shoegaze bands, left and right. The four-piece New Jersey band all under heaven is dubbed a central part of this new wave of shoegaze bands, carving a moment for themselves. Growing buzz on their loose singles and ethereal debut EP, Collider, built up hype for the band–even going so far as being namedropped for their contributions via Stereogum and Pigeons and Planes.

A few months ago, I was caught by surprise that all under heaven was embarking on a United States tour that included a date for Kansas City. I was thrilled, especially since this was their first time playing here. The tour announcement was the same day they announced their debut LP, What Lies Ahead of Me, released under the San Antonio-based independent label Sunday Drive Records. What Lies Ahead of Me reigns differently from their earlier releases, toning down the overwhelming intensity in favor of softer melodic palettes and inclusions of synthesizers and drum machines. The album pales billowy and light compared to their older material, but still retains some beautiful moments throughout. How all under heaven’s sound translated live at the very intimate Uptown Theater’s Encore on July 28th turned out to be quite dreamy.

all under heaven. // photo by Miguel Gonzales

Their set began around 9:25 PM, opening with the floating “Receiving Certain Answers.” Nick DeFabritus’ emotive vocals soar through the jangly guitars, his vocals not obstructed in the slightest giving the perfect room for them to shine. Aaron Brenner’s drumming shimmers in between the lush guitar tones from DeFabritus and guitarist Jake Rubin, while Michael Cucci subtly plays basslines facing into his amplifier for most of the set. DeFabritus points out while introducing the band that this is their first time in Kansas City–a small burst of cheers comes through from the mostly young, medium-sized crowd.

Thereafter, they transition into “Rolling,” easily the most slow-paced song in their discography. The guitar tones remain the same, while DeFabritus and Rubin softly harmonize with one another. Brenner’s drumming is slightly scant, playing lighter on the bass drum where the hi-hats and snare do most of the work. I prefer it this way, as I feel it gives enough brevity for the song’s sentimental melodies and lyricism to be at the forefront. When DeFabritus and Rubin sing the refrain together, it simply leaves you in a reflective daze. “I guess it’s going to be like that,” both wispily sing.

When all under heaven started playing “Cement Shoes” after “Rolling,” I was immediately locked in. Collider is my favorite release from the band, and there was no doubt I would see them still rocking out to their earlier material. Their live rendition of “Cement Shoes” is played in a different tuning and is slightly gossamer compared to the original recording. The same goes when they played “Desperately Seeking Answers,” which sounds a tad lighter also played in a different tuning. DeFabritus’ angelic and emotive vocals swell, Brenner’s tapping hi-hats are tight, and the guitars get heavy. They are great songs from the band’s catalog, just tweaked slightly for a live setting.

Queue the Korg synthesizer sitting in front of the dimly lit stage, as another band member walks on stage to use it. For the second half of their set, the band is set on playing their newer songs. Cuts like “Right Here” and “Believing” hone down on gothic leanings and grungy-filled heaviness, while their melodic pairings were sweet to hear. DeFabritus undoubtedly has luscious vocals throughout these songs, and all under heaven’s ability to conjure up catchy guitar melodies is admirable too.

It’s especially apparent in “Believing,” where three band members are playing three different guitar parts that work well together. DeFabritus lays out the rhythm with reverb-drenched chords, while Rubin and the other band member who is now wielding a small black guitar, accompany DeFabritus’ playing by delivering effect-heavy riffs and plucking that sounds reminiscent of New Order. The results were cool to hear.

DeFabritus gives his gratitude to the audience, thanking them for coming out. They end their set exactly at 10 PM with a one-minute drone of washed guitars and a humming synthesizer, slowly fading out. People swiftly cleared the miniature venue ten minutes later, which left me sitting near empty beer cans from the other patrons and a dash of hope. There was no need for a blood-pumping time, rather the atmospheric magic all under heaven evoked tonight spoke for itself.

Lake Love. // photo by Miguel Gonzales

Before all under heaven went on, the emo-shoegaze fusion Kansas City locals Lake Love took the stage at 8 PM. Playing new originals and a cover of a my bloody valentine song, their 26-minute set was bittersweet flashing with ranges of rural heaviness and catchy midwestern emo hooks.

I took a liking to their performance of “benchwarmers” from last year’s baseball-themed field of dreams EP, Jarrett Dietz’s melodic musings and yelpy vocal inflections are effortlessly shown off on-stage. If you’re into the whole do-it-yourself emo sound, they are worth checking out.

Siilk. // photo by Miguel Gonzales

Siilk was by far the heaviest act of the night, the band also opening for all under heaven. They took the stage around 8:37 PM with a sample of Aphex Twin’s Windowlicker, then immediately jumped into some heavy nu-metal revival goodness. The band opened with their blistering, dense “Pulse” from their Fall in place LP. The guitarist’s Chino Moreno-inspired vocals maneuver around, compared to the bassist’s hellish vocal fry that pummels the song into intense heights.

The bassist went all out too, grabbing tight onto his bass and hopping around in his white Nike Blazers, delivering some mean grooves. Siilk’s set erupted in spontaneous but brief moshpits from the younger crowd, while the others bobbed their heads along. Rightfully so, because their set ruled.