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Ides of Gemini @Mill City Nights, Minneapolis(US) – 4/05 Live Report


On May 4, 2013, the Tao was everywhere, including the venue Mill City Nights, a former church in downtown Minneapolis. The just enough to recognize as, hinting at, psychedelic doom metal band Ides of Gemini performing like it’s Plato’s Allegory of the Cave.

These words may ruin an experience, may contradict it, not the best if actually in a conversation with someone, but the reader shall create the reality, not the author. Only one translation.

The “prisoners” chained in the “cave” – hearing the echoes. The crowd was not as beardy as a hotspot like Portland, OR., and without a proper metal tribute to Jeff Hanneman two days after his death - only one person seen wearing a Slayer shirt, with just the logo, and it looked like that fake, distressed vintage type.

With the curtains open, visually, an anti-distortion, the band color coordinated in minimalism, not unlike a White Stripes’ style of black and red. But guitarist J. Bennett’s wearing of a necktie, pure psychedelia in its concept. Vocalist Sera Timms’ bangs vs. her blazing red bass of ironic intensity. And the sometimes mallet use of Kelly Johnston, a metal Moe Tucker, but with a traditionally arranged drum kit. All seemed so far apart, assuming, they know each other’s tarot readings.

Less is more heavy psych, which makes it easy to pick apart, technically, and not the point. An esoteric drone vocal being the point, framed by the other two participants in the ritual, the third was the audience being watched. This is not a revolution in sound combinations, maybe it is, because all doom is retro thanks to Cathedral, wait, I mean Black Sabbath. It’s classy (which could mean the opposite of what it should mean), literary, atmospheric, primal womb metal. The guitar maintains the heartbeat, only seconds here and there of quickness. The drums a modern chariot.

Then again, “Silence is a source of great strength.” – Lao Tzu

(Before the first day, god created silence, and that trembling feeling), as my experience was, “in the cave,” within the beginning riffs, eventually fleeing the cave into the forest with an Artaudian confusion. The lyrics are available in the forest, available for everyone that is open and receptive to the experiment. Ideas, not the present material things, are the most important of the realities, like what shadows represent for the prisoners.

Escaping the cave, not just being able to leave - the journey leading to acclimation and nowhere in the end, but the path, the meaning. Is the freed one not considered anymore by the prisoners? - Like the best thing about the internet being the fastest way to the truth. The clever one is the chained one that can guess what shadow they will see next. Others say the want of knowledge, the seeking of experiences, the escaping of the cave, and running through the forest is the right way, the feeling I got as the band played. But the releasing of the prisoners, only a dream?

Report made by Robert Savela/2013
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