Tuesday, February 07, 2006
Good Hurt and the Curse of the NY Yankees: Butcher Show
Friday, October 14, 2005
Venice, CA- Ordinarily I would not be caught out on Full Moon in September, but I never saw Butcher play out live either. Hence the draw.
The earlier part of the evening I watched the opening acts. Surprisingly enough, there was a common thread: husband-wife teams playing in bands together. It worked. It's a phenomenon, but at husband-wife teams in business and artistic endeavors have proven a workable combination when it comes to output. Camella Grace, Butcher's lead singer is the wife of Adam Jones the guitarist for Tool. Jones artistic influence on Butcher is tangible.
Both bands had different styles from Butcher. Butcher's sound was muchmore elaborate with engrossing visuals (SPIRAL EYES) and a professional cadre of players [Scott Reeder, Sasha Popovic and Phil Trujuque] . The consistent question of the evening was, of course, "What's up with the girdle? "Camella was wearing a white corrected-brace "thing" with an elaborate lace up pattern over her black dress.
Tool's tribal impressions were imminent in Butcher but it didn't steal the identity of what Butcher was doing with the music. Camella Grace gave an emotional performance illustrating past words and sound, what a pain it is to carry such a criminal world on one's shoulders. The competition was tough between keeping your eyes on the band and baby rhinos defending themselves from jackals, evil geishas, and the ritual slaughter of something hard to identify trying to save itself up on the screen. One of the most compelling songs in the set (next time I'll get the set list) depicted someone essentially wounded in the heart area of the chest. You can see the damage done. The question is answered when you see the cute little Asian girl nibbling on organ (presumed a heart) meat and then flinging it against the rocks. Ouch...
It was much more of an art performance and a great surprise. The band talented performance penetrated a stage so dark you couldn't se the players. The gist of Butcher's sound is dark, cavernous and ethers with lowing ghostly vocals echoing up from the bottom spreading into the room. The tonality rolled kind of like smoke.
I could have guessed but I realized mostly too late who was who at Good Hurt that night. What was especially odd were, the people there who knew who I was that I didn't know very well or at all because of mischievous Members of TOOL showed up. I met all of the members of Butcher. There was probably some sort of an afterbirth, but I opted to sneak off with another began Burning Man instillation artist instead. I left at closing time. As I turned to go, the crowd huddled around the patio door like grounded vultures hoping to get a piece of the TOOL family action.
Venice, CA- Ordinarily I would not be caught out on Full Moon in September, but I never saw Butcher play out live either. Hence the draw.
The earlier part of the evening I watched the opening acts. Surprisingly enough, there was a common thread: husband-wife teams playing in bands together. It worked. It's a phenomenon, but at husband-wife teams in business and artistic endeavors have proven a workable combination when it comes to output. Camella Grace, Butcher's lead singer is the wife of Adam Jones the guitarist for Tool. Jones artistic influence on Butcher is tangible.
Both bands had different styles from Butcher. Butcher's sound was muchmore elaborate with engrossing visuals (SPIRAL EYES) and a professional cadre of players [Scott Reeder, Sasha Popovic and Phil Trujuque] . The consistent question of the evening was, of course, "What's up with the girdle? "Camella was wearing a white corrected-brace "thing" with an elaborate lace up pattern over her black dress.
Tool's tribal impressions were imminent in Butcher but it didn't steal the identity of what Butcher was doing with the music. Camella Grace gave an emotional performance illustrating past words and sound, what a pain it is to carry such a criminal world on one's shoulders. The competition was tough between keeping your eyes on the band and baby rhinos defending themselves from jackals, evil geishas, and the ritual slaughter of something hard to identify trying to save itself up on the screen. One of the most compelling songs in the set (next time I'll get the set list) depicted someone essentially wounded in the heart area of the chest. You can see the damage done. The question is answered when you see the cute little Asian girl nibbling on organ (presumed a heart) meat and then flinging it against the rocks. Ouch...
It was much more of an art performance and a great surprise. The band talented performance penetrated a stage so dark you couldn't se the players. The gist of Butcher's sound is dark, cavernous and ethers with lowing ghostly vocals echoing up from the bottom spreading into the room. The tonality rolled kind of like smoke.
I could have guessed but I realized mostly too late who was who at Good Hurt that night. What was especially odd were, the people there who knew who I was that I didn't know very well or at all because of mischievous Members of TOOL showed up. I met all of the members of Butcher. There was probably some sort of an afterbirth, but I opted to sneak off with another began Burning Man instillation artist instead. I left at closing time. As I turned to go, the crowd huddled around the patio door like grounded vultures hoping to get a piece of the TOOL family action.
