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Brendan Canty und Joe Lally von Fugazi haben mit dem Avantgarde-Gitarristen Anthony Pirog THE MESSTHETICS formiert. Das Power-Trio benutzt das rhythmische Fundament der Post-Hardcore-Pioniere und baut darauf ein aufregendes Konstrukt aus Jazz, Prog, Krautrock – und dem Geist von Jimi Hendrix. Canty und Lally spielen seit der 2003 erklärten Bandpause von Fugazi das erste Mal wieder gemeinsam Schlagzeug und Bass, und die beiden harmonieren immer noch absolut fantastisch. Es ist Lallys minimalistischer Groove und Cantys unbeschwertes und gleichzeitig komplexes Spiel, das bei THE MESSTHETICS sehr vertraut klingt – bis Jazz- und Avantgarde-Gitarrist Pirog ins Spiel kommt. Im in Trance versetzenden Fünf-Viertel-Takt (den sie gelegentlich auf elf Viertel erweitern) jammt das Trio in «Serpent Tongue» los, Pirog gibt zunächst ein simples Riff-Thema vor. Dann beschwört er die Geister großer Rockgitarristen: Erst mit bluesigen, offensichtlich auch jazzbeeinflussten Tonleitern, die er auf und abwärts gniedelt, dann erzeugt er mit seinem Instrument hektische, fieberhafte Geräusche – genau so, wie es einst Hendrix bei seinen Protest-Performances gemacht hatte. Nur fängt er sich trotz des rasenden Tempos wieder, kommt kurz zurück zum Thema, und beginnt danach das nächste wilde Soundexperiment, in dem er Elemente aus Free Jazz, frühem Post-Hardcore und Krautrock miteinander fusioniert. Es ist uns eine wahnsinnig grosse Ehre, die Hälfte von Fugazi in unserem Haus begrüssen zu dürfen! Vor 21 Jahren haben Fugazi das Album «End Hits» veröffentlicht. Es ist der Name, den wir für unsere Konzertreihe gewählt haben; für uns bedeutet er Integrität, Qualität, Seele und
Spielfreude. Es sollte also nicht erstaunen, dass dieses Booking für uns von extrem grosser Bedeutung ist!

Organized by:   Dachstock

See the official website

May 27, 2019

Dachstock – Bern

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Dr. Thomas Stanley (aka Bushmeat Sound) on The Messthetics:

The last time drummer Brendan Canty and bassist Joe Lally were in a band together, they were the rhythmic architects for Fugazi, an organization whose decade and a half of disciplined progressivism provided a necessary bridge between the zenith of late-punk ex- pression and everything alternative in rock that followed. In 2016, the two were enlisted by guitarist Anthony Pirog in a conspiracy to subvert and reimagine the power trio, bringing fully into the 21st Century a form that may have reached near perfection with Hen- drix’s Band of Gypsys on the very first day of the 1970s.

With a self-titled recording scheduled for release in the Spring of 2018 on Dischord, the Messthetics will widen the reach of a decisive instrumental music that so far, they have only shared with a privileged handful of east coast and southern audiences. Across its eight original compositions and one cover, Anthony guides the sound through complex changes and harmonic densities that might com- pound, but never confound or muddy its connection with the listener’s body. Recorded by Brendan in their practice space, the group’s debut gives Anthony ample opportunities to swap guitar textures and styles as freely as an octopus changes patterns.

Brendan’s kit has a big heavy bell that he brought back from the Fugazi days. He maneuvers through this rhythmically shifty music with a fluid briskness that is periodically disrupted by the clang of his bell. Joe spent 8 years in Italy, among other things, woodshed- ding on eastern rhythms counted in 7 and 13, perfect preparation for the oddly-metered work of the Messthetics. He brings a rock- solid foundation to the groove at the same time playing a harmonic complement as ambitious and interesting as Anthony’s lines.

Bands can be dangerous when their members have accrued enough mileage to see their chops season into something like musical wis- dom. When that understanding has the rare opportunity to percolate through a collaborative environment founded in love and anchored in gratitude, well, then shit can get rather intense. Anthony Pirog writes difficult music because original music usually is. Yet the ideas that he feeds through the Messthetics, are embraced by the Canty-Lally time machine, not just with precision and nuance, but with soul, joy, and groove. These last three are, indeed, the big guns in this spiritual war that music must become in the post-Trump era.

Their performances and this debut recording have a lift and buoyancy that reflect back into the audience the love and gratitude at the foundation of this trio’s journey.

Visit THE MESSTHETICS's official website