It was late in the evening but strangely it was unusually quiet for a Saturday night.  Other than the occasional car and plane that passed by Kettner Blvd, not too much was happening.  Then, from a small juke-joint plainly hidden between the freeway and airport, came a steady drum beat.  More and more it drew in catatonic souls looking for their voodoo master calling them.  But alas, once inside for all to bear witness was holy trinity of Tomorrow.  Without a pause, they began to play. . .and all began to celebrate.

There are many bands nowadays that reinvent or become extensions of their rock idols.  How many bands do you know that play three power chords interchangeably and believe they are now music gods?  Sadly, they may be the ones that end up on MTV.  But there is a difference between believing you are a music god and actually being one.  Enter Kill Me Tomorrow.  To describe their music is to give a definitive answer to avande garde art.  There is no one answer.  In the spirit of John Zorn and Talking Heads, their music shows no boundaries.  Close descriptions could be new wave tribal or groove punk.  Either way, the music created by Zack Wentz (drums/lead vocals), Dan Wise (guitar/vocals), and James Goldbach (bass/vocals) transfixes all those within earshot and won’t let you go.  But this is not your typical three piece band.  During the course of their performance, each member plays several other instruments without literally missing a beat.  Wentz is undeniably a strong force on stage.  Like the creative edginess of Perry Ferrell and the tribal power of Mickey Hart, there was no need for him to engage so much with the audience.  They were already mesmerized.  Plato once said, “Music and rhythm find their way into the secret places of the soul.”  Kill Me Tomorrow did just that. . .and all did celebrate.

Photo Credit: Michael Klayman / www.seemichaelsphotos.com