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Last Saturday was the long-awaited CD release party for Beehive's new album, Pretty Little Thieves. The show, at High Dive, included Theory in Motion as the opening act and The Fading Collection as the closing act, and also Dezignated Pete as the between-set DJ. I don't usually review between-set DJs, but it's worth noting he spun an enjoyable set of music with some really interesting live mixing of well-known electronic music; he'd be worth going to hear as a featured artist in his own right.
Theory in Motion are an electronic duo, featuring turntable, synth drum, computer, keyboard, and more electronics. Both members also provided vocals, the main vocalist tending to rap while the other usually sang. Their continuous set varied in style from hard-edged techno to groovy dance music, with beats that begged for dancing but a complex sound that rewarded simply listening as well. As the opening act this night, they suffered the smallest audience with just a few people standing toward the front to listen, but on another night they could easily fill the floor with dancing bodies, I'm sure. I'll be keeping an eye out for them in the concert calendar.
Beehive are the duo of Alethea Eichhorn (aka Butterfly Beats) on laptop, keyboards, and vocals, and David Miller on electric and slide guitars, bass, and vocals. Together they make a heady mix of rock and breakbeat electronica. I'd been anticipating this show since their short set in January, and I was not disappointed. I discovered at this show just how strongly their music stays with me: it wasn't until I saw the track listing of their new album that I realized I didn't yet actually own some of the songs I recognized at the show as "old favorites," including "Small Face" and "Better Than Lies." Other songs in the set included "Outta Here One Day," previously released on last year's EP Operation Artichoke, and "Fear" and "Joseph and Mary" from their first release, Cycle A. As in previous shows, Beehive's delight in music shone through their performance, and their infectious enthusiasm got the crowd bopping along and inspired some amazing dancing. I'm almost sad to think that it'll be a while before they start introducing new songs again, but for now I'll take joy in the great music they're already playing.
The Fading Collection are Sarah McCulloch on vocals and guitar and Matt Frickelton on bass and programming, with Jeremy Hill on drums and samples and Tavia Wormstedt on backing vocals. I first saw them last year at the same show when I first saw Beehive - and incidentally the first show I attended at High Dive. At the time I described their goth/industrial-influenced electronic rock as "more for listening than dancing," and although I still would not describe their music as dance music, there was plenty of dancing going on at this show. Despite the late hour, most of the evening's small crowd stayed through the set and called for the band to continue even when they seemed ready to finish. In fact, the band seemed a little unprepared to play as long as they did, which made for a slightly awkward end to the evening rather than an exciting climax. I enjoyed their set even more than I did last time, and yet I still feel like they could set the place on fire, but don't quite. I hope to be there when they do.
I listed several possible shows for June at the end of my previous review, including The Fading Collection opening for Sky Cries Mary at Neumos on the 15th. I still haven't decided whether to try catching that as well as Kinski's live accompaniement to the 1927 film Berlin: Symphony of a City at the Triple Door the same night, or just picking one show. I haven't seen Kinski in almost a year, and it'll be cool to hear what they do in a film score context, but I've never seen Sky Cries Mary and I'd like to. Meanwhile, I found out today that Tara Jane ONeil is playing Sunday June 17 at Gallery 1412, with Jana Hunter. TJO shows are obligatory, so whatever else I might see in June, I'll certainly be there.
Theory in Motion are an electronic duo, featuring turntable, synth drum, computer, keyboard, and more electronics. Both members also provided vocals, the main vocalist tending to rap while the other usually sang. Their continuous set varied in style from hard-edged techno to groovy dance music, with beats that begged for dancing but a complex sound that rewarded simply listening as well. As the opening act this night, they suffered the smallest audience with just a few people standing toward the front to listen, but on another night they could easily fill the floor with dancing bodies, I'm sure. I'll be keeping an eye out for them in the concert calendar.
Beehive are the duo of Alethea Eichhorn (aka Butterfly Beats) on laptop, keyboards, and vocals, and David Miller on electric and slide guitars, bass, and vocals. Together they make a heady mix of rock and breakbeat electronica. I'd been anticipating this show since their short set in January, and I was not disappointed. I discovered at this show just how strongly their music stays with me: it wasn't until I saw the track listing of their new album that I realized I didn't yet actually own some of the songs I recognized at the show as "old favorites," including "Small Face" and "Better Than Lies." Other songs in the set included "Outta Here One Day," previously released on last year's EP Operation Artichoke, and "Fear" and "Joseph and Mary" from their first release, Cycle A. As in previous shows, Beehive's delight in music shone through their performance, and their infectious enthusiasm got the crowd bopping along and inspired some amazing dancing. I'm almost sad to think that it'll be a while before they start introducing new songs again, but for now I'll take joy in the great music they're already playing.
The Fading Collection are Sarah McCulloch on vocals and guitar and Matt Frickelton on bass and programming, with Jeremy Hill on drums and samples and Tavia Wormstedt on backing vocals. I first saw them last year at the same show when I first saw Beehive - and incidentally the first show I attended at High Dive. At the time I described their goth/industrial-influenced electronic rock as "more for listening than dancing," and although I still would not describe their music as dance music, there was plenty of dancing going on at this show. Despite the late hour, most of the evening's small crowd stayed through the set and called for the band to continue even when they seemed ready to finish. In fact, the band seemed a little unprepared to play as long as they did, which made for a slightly awkward end to the evening rather than an exciting climax. I enjoyed their set even more than I did last time, and yet I still feel like they could set the place on fire, but don't quite. I hope to be there when they do.
I listed several possible shows for June at the end of my previous review, including The Fading Collection opening for Sky Cries Mary at Neumos on the 15th. I still haven't decided whether to try catching that as well as Kinski's live accompaniement to the 1927 film Berlin: Symphony of a City at the Triple Door the same night, or just picking one show. I haven't seen Kinski in almost a year, and it'll be cool to hear what they do in a film score context, but I've never seen Sky Cries Mary and I'd like to. Meanwhile, I found out today that Tara Jane ONeil is playing Sunday June 17 at Gallery 1412, with Jana Hunter. TJO shows are obligatory, so whatever else I might see in June, I'll certainly be there.
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