Over the weekend of September 11 and 12, I was able to catch two amazing shows from two talented musicians: Cold Cave’s Wesley Eisold and Alex Okami. Announced back in May, Eisold would be performing Cold Cave’s 2009 Cremations collection live in full for the very first time, and I knew I needed to make it out to Los Angeles to experience this. For as long as I’ve loved Cold Cave, I have somehow never seen them live. I was aware this was going to be very different from their typical set, but I felt this was even more reason to be there.

I had planned on returning to Reno the following day, but I was introduced to Okami by Hollywood Veil’s own Haley Guidry and was informed he would be performing at a show the following night. I extended my stay an additional night and began counting down the days until my flight out to LA.

Sonically, Cremations is an interesting album considering where Eisold had been before and what has since come after its release. Maybe it’s me, but I do need to be in a certain state of mind to listen to it. It’s extremely experimental and noisy, but there is so much poetic beauty found deep within that I find it an incredible body of work. Back in 2009 when I picked it up by chance (I bought it purely for the cover art), Cremations was unlike anything I had heard at the time. I think there was one other person I knew who was into it and Cold Cave in general, but outside of that, the album was a secret of mine that I held onto and listened to in isolation.

The show was to be held at the iconic Masonic Lodge at Hollywood Forever. I got there a few hours early to explore the surrounding cemetery and take in the atmosphere. Once inside, I made my way to the merch area. I was met with a dimly lit room with spectacular chandeliers, four large Gothic chairs along the far end of the room and a large fireplace. After taking all this in, I made my way into the space where the performance was to be held. I was greeted with a massive Heartworm projection sitting below an illuminated stained-glass window, with fog already billowing out from both sides of the stage. The space itself was gorgeous and, like the merch room, set the vibe of the night perfectly.

Before getting into Cremations, we had a showcase of Heartworm poets and musicians to savor. First was Eric Paul, who read several excerpts from Providence, recently published by Heartworm Press, touching on topics like fatherhood and growing up in Providence, Rhode Island. Rosa Anschütz went onstage next and performed songs from her LP Sabbaticalto celebrate one year since the album’s release. Her set was hauntingly beautiful, packed full of emotion and drenched in melodic soundscapes and vocals. Lastly was a reading from writer and poet Violetta Leigh, whose prose was exceptional and a definite highlight of the night. I’m very much looking forward to Leigh’s new poetry book with Heartworm Press.

Soon after, Eisold got onstage and hit the first few notes that brought Cremations to life. The set went at a blistering pace, but the energy never let up. The audience was entranced, dancing, with some closing their eyes and simply taking it all in. The tracks themselves are generally on the shorter end; think of them as little glimpses into the mind of Eisold when he started layering these compositions together. Each track was accompanied by an image projected onto the back wall featuring lyrics from specific songs.

It dawned on me during this performance just how poetic and expressive Cremations is. I was absorbed by the content of the words, how they were written and their arrangement when displayed through the projector. I don’t think I truly appreciated this during my time with the album over a decade ago. The Cremations zine I picked up after the show compiles these images and words, and I have revisited them several times since the show.

The performance wasn’t just Eisold. During Heavenly Metals, a personal favorite of mine from both the album and the show, Max G. Morton joined him onstage to recite the spoken-word portions of the track, which I thought added a nice touch. Amy Lee would later join in for a few songs, playing certain sections on both guitar and keys. Other standout songs from the night were E DreamsHummingbirds and Love You Forever, as they were performed exceptionally well.

When it was all over, “Cremations” filled the back wall as Eisold thanked everyone for coming. I could tell how much this meant to him, and I’m glad that an additional Los Angeles performance was added the night prior. Before the house lights came on, Eisold brought members of Cold Cave onstage to perform Confetti, followed by a cover to close out the night. Sunflowers in hand, it was a triumphant performance by Eisold.

The next night, I trekked out to The Paramount for Alex Okami. This year has been an exceptional one for darkwave music. Earlier in the year, Fevr, Occults, Xray5, Holy Water, Vic Vapors and Deceits had all come through Reno, and I was excited to check out a relatively new artist in the post-punk and darkwave scene, even if Okami’s first EP arrived back in 2020. Okami has a knack for songwriting, which particularly comes through in his latest single, Permanent Disease, and paired with his energetic live performances, I had a feeling this was going to be good.

For his latest fall tour, instead of performing solo, Okami was joined by Markus Castro of Post Crucifixion on guitar and Manuel Perez of Corbeau Hangs on keys. This freed up Okami to command the stage and engage the audience. As a photographer, Okami was enjoyable to shoot. The poses, facial expressions and movements all made for an entertaining and fun experience. As a frontman, Okami is more than capable of elevating his project to the next level. Having the backing musicians added a different dimension to his sound. The music came alive, and it was palpable among everyone in attendance.

Over the course of the set, Okami pointed out that his parents had made the drive over from Phoenix to see the opening night of his tour. It was a touching moment, but during the last song, a cover of Depeche Mode’s Enjoy the Silence, it got even more emotional. Okami got offstage and into the crowd to embrace his dad, thanking him for always supporting and helping him on his journey as a musician and getting him to where he is today. It was absolutely touching and beautiful to see. I cannot recommend Alex Okami enough after seeing this set.

Over the course of my two nights in LA, I listened to some incredible music by exceptionally talented musicians. I witnessed Cremations come to life, a passion project for Wesley Eisold that was executed perfectly. The show itself was unlike anything I had seen before, not only a celebration of Cold Cave but of Heartworm Press, featuring several talented musicians and poets from its roster.

Alex Okami is an exciting artist, and watching him perform a jaw-dropping set was pure bliss. This weekend will live long in my memory and is one I won’t soon forget.

Cold Cave / Heartworm

Alex Okami

Words and photos by Robert Khoury

Leave a comment

Trending