I think I may be onto something: stages, lighting, promotion and set times bring out the worst in bands.

The theory shot into my head last night as I watched two amazing local bands and Sub Pop’s latest acquisition, Obits, blow hundreds of minds inside a tiny, smoke-filled, Pabst Blue Ribbon-scented warehouse in the International District. With no platform, no extra amplification and essentially no rules (other than for people to bring their own beer), each band’s raw power in this dream setting was taken to what would be an unreachable level at a standard venue…because it was a party.

Seattle’s own Unnatural Helpers and the Coconut Coolouts each channeled loose, raunchy garage rock n’ roll in their own distinct ways. The Helpers, who had been on hiatus for quite some time, blasted through a thirty-minute set with a figurative sucker punch emerging from each amp as drummer/singer Dean pounded and screamed through each tune. (It was also exhilarating getting a chance to see Seattle’s finest mustache–owned by the Helper’s guitarist Charles “Leo” Gebhardt IV–in action). The Coolouts, a six-piece party ensemble, procured the attention of everyone with danceable, riff-heavy songs. It’s probably cliche to throw in a Black Lips or King Khan & BBQ Show comparison, so I’ll wing by saying Thee Milkshakes with jungle flavor.

Obits took over around 11:15PM now accompanied by a packed house…warehouse. Opening with the instrumental “I Blame You” (title track to their upcoming debut LP) frontman Rick Froberg and guitarist Sohrab Habibion’s dueling, reverb-drenched guitars pierced the smoky air and quickly refueled everyone’s energy. The band then launched straight into “Widow of My Dreams,” a song featuring a haunting guitar line and Froberg’s trademark vocals that echoed his days with Drive Like Jehu and Hot Snakes.

The singing-along came when the band started up “One Cross Apiece,” the first single Sub Pop released. Arguably the best representative of Obits, “One Cross Apiece” demonstrates crafty guitar work by Habibion, but the song encompasses all of Obits’ best features, particularly the jamming outro. The b-side to that single, “Put It In Writing” also was a crowd favorite — a song, like many, that hints at a strong Wipers influence.

“Milk Cow Blues” was the song that knocked people over and stimulated head-banging, shaking and any other involuntary rock n’ roll-induced spasms. One crowd member in particular who was enjoying a moment in punk rock ecstasy was the man who will be one of the first Seattelites to hold the Obits record in his hand: Sub Pop’s Warehouse Manager and Seattle’s favorite frontman Mark Arm.

Closing with “Back and Forth” was an assurance that Obits is not solely for hyper, riff-hungry fans like me. “Back and Forth” is a nod to the powerful pop sound of the early Rolling Stones but also can be comparable to the bold and flavored guitar compositions of a band like Built to Spill.

This show not only made the wait for I Blame You harder but will probably damper the next couple of shows I attend, assuming they are at an actual music venue.