By David Callicott

Welcome To The Thunder-Drone, left.

Wednesday night, The Black Angels graced the Bowery Ballroom. Up first, though, were A Place To Bury Strangers. The local trio has been getting copious buzz for their loud and dramatic rage, and deservedly so, despite their tired guitar-destruction schtick.

At 11 p.m. sharp, six Black Angels landed on stage and detonated an hour-long explosion of entrancing, distorted rock. Bearded frontman Alex Maas, hiding in the brim shadows of his cap, howled like a man possessed and led the charge of thick guitar and heavy bass drums. Stephanie Bailey sat behind the kit, keeping time, hammering rhythms, and making us wonder why there aren��������t more female drummers in the world.

The show was a non-stop assault of driving force, and a colorful display of the Angels�������� influences, cobbled together from each of the past four decades��������'60s psychedelia, '70s Zeppelin-esque metal, '80s post-punk conjuring Jesus & The Mary Chain, and the noise of '90s grunge. Audience ears, however, grew a little weary of the minimal chord changes and unvaried pace.

Like A Place To Bury Strangers before them, The Black Angels used the stage backdrop to project scratchy Super 8 loops and black-and-white clips of bondage and mayhem. Last night��������s visuals enhanced and intensified the entire experience, especially since The Black Angels themselves are fairly stationary on stage.

Photo courtesy Jamarr Mays.