Concert Review: Sleep

Sleep lays down the groove.

Sleep

Thalia Hall, Chicago

Jan. 27, 2016

Sleep--the seminal stoner/doom metal band--hasn’t recorded a new album since the late-1990s. As legend has it, the band’s most visionary effort was twice rejected by the record label because they turned in one epic, 63-minute song (“Dopesmoker”) as the album. The Bay Area group soon disbanded, and, even though the song was released in all its glory in 2003, the group hasn’t released any significant music since.

They have rejoined for sporadic touring since 2012, and perhaps haven’t fully formed as a band due to guitarist Matt Pike’s success fronting the three-piece metal outfit High On Fire, releasing a series of albums that have made a heavy impact on the genre and cemented Pike’s status as one of the most riveting figures in metal.

Still, Sleep’s legend was enough to sell out two nights in a row (Jan. 26 and 27, 2016) at Thalia Hall, which might be one of the best places in Chicago to see live music (more about that below). It was a transcendent night of music and undeniable proof of the band’s genius, influence and ahead-of-its-time quality.

The band played “Aquarian,” “Dragonaut” and the title track all from 1992’s “Holy Mountain,” Sleep’s best full album of material.

But the highlight of the set, of course, was “Dopesmoker,” at least the first 25 minutes of it that the band played. Singer-bassist Al Cisneros doesn’t begin his monk-like chanting vocals until eight minutes in, allowing the three-piece to firmly establish its mid-tempo groove. Pike wrings the most out of each power chord, letting each ring out like a distorted, mystical gong. Drummer Jason Roeder (also of Neurosis) keeps a steady beat, heavy on the cymbals, for seemingly days. Pike, as usual, stood stoically bare-chested in front of his stack of Orange amps, focused solely on wielding his axe.

The band wasn’t overly heavy, nowhere near aggressive, just pleasantly rhythmic and even hypnotic. There were zero showy guitar solos and absolutely no rock posturing. The overall effect, however, was a collective weight, a slow crushing that descended on the audience like an aural sedative.

The historic building that houses Thalia Hall also houses
Dusek's Board & Beer and The Punch House.

The Venue

Newly renovated rock concert venue Thalia Hall, at 1807 S. Allport St. in the Pilsen neighborhood of Chicago, is magnificent. It first opened in 1892 as an opera house, and is now a three-dimensional complex of bars and restaurants, all under one roof. The architectural landmark has an inviting and comfortable personality.

At one end, Dusek’s Board & Beer restaurant is a fine spot for food and a wide range of craft beers, including new neighborhood brewer Moody Tongue. Downstairs is the Punch House--decorated as if it’s a suburban home basement bar, circa 1975, with wood paneling and taxidermied fish. An impressive saltwater fish tank serves as the bar’s centerpiece. This hipster hideaway specializes in cocktails both classic and innovative, and still more bites to eat. Punch is sold by the glass, carafe or actual punch bowl, and a faux-wall bookcase serves as a speakeasy-like door (if you move the correct period-piece tchotchke) into a wine cellar and large room, ostensibly for party rental.

The sleekly renovated concert hall is located upstairs. A main floor features standing room akin to the space of Metro. Paying a few more bucks allows a customer access to the balcony seating area with good views all around. A high ceiling makes for an airy space. The sound there is clear and well mixed, and modern temperature controls help make it a comfortable space, something sorely missing in grungier places that usually host such bands (like the Riviera, Metro, Congress...you name it). The hall allows in-and-out privileges, perfect for those who want to sneak down to the Punch House or Dusek’s bar before the headliner takes the stage. It feels like home.