Lonely Parade creates postpunk perfection on The Pits | Concert Preview | Chicago Reader

Lonely Parade creates postpunk perfection on The Pits 

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click to enlarge Lonely Parade

Lonely Parade

courtesy the artist

The oldest I’ve ever felt was during one night over the summer, when my band played a show with Montreal trio Lonely Parade. I watched the band’s members—who were not even legal drinking age—mop the floor with every other group on the bill. They’re the type of band that can make even the saltiest, most seasoned punks think, “I’ll never top that, should I just hang it up?” On the brand-new The Pits (Buzz), Lonely Parade play razor-sharp, mean postpunk brimming with intricate guitar lines and busy rhythms. The vocals of guitarist Augusta Veno (and on a few tracks bassist Charlotte Dempsey) sound disaffected, but their lyrics contain thoughtful observations about a range of heavy topics, including scene politics, gender identity, and disillusionment with society. Though their music isn’t stylistically groundbreaking, Lonely Parade pull off their songs with so much finesse and heart you can’t help but feel like the tides are turning and the new generation is taking over as you’re listening. The Pits is a postpunk triumph, the kind of record that makes those that came before it obsolete, and Lonely Parade are not a band to miss.   v

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