AUTOLUX + EUREKA THE BUTCHER @ THE EL REY THEATRE
Photos by Sheva Kafai Recap by Zach Bilson
How many bands can go for over a decade as a strictly cult act, then pull a 180 and expand their audience while keeping their core fanbase intact? You could probably count on one or two hands, but one finger definitely goes to Autolux. Their third album, Pussy’s Dead was recorded with Beyonce and Run The Jewels collaborator Boots. Most noticeable is drummer/vocalist Carla Azar stepping up to the forefront on tracks like “Soft Scene” and “Anonymous,” perfectly bringing out the “pop” in Autolux’s LA-bred noise pop. With visuals to complement the music, the El Rey was packed out for the relatively rare appearance, and we were treated to most of the new record, as well as a good portion from 2004’s insta-classic Future Perfect. The band’s apparent resistance to touring might actually work in their favor, as it was able to churn out fan favorites like “Turnstile Blues” and “Subzero Fun” with the energy of a debut show. They ended closing tune “Blanket” with bassist Eugene Goreshter and guitarist Greg Edwards conjuring an apocalyptic howl of noise – think of it as a sneer at anyone who’s doubted their recent experimentations, and an affirmation that they’re still one of the heaviest bands out there.
Eureka The Butcher is part of a wave of electronic musicians blurring the line between singer-songwriter and producer, and his live set showcased that balance spectacularly. Armed with only a drum pad, a synth, and a vocal processor, the former Mars Volta keyboardist alternated between looping melodies and hammering out improvised rhythms, barely even pausing when he sang along. It exhibited a concentration and discipline that’s impossible to fake – from the looks of the jaws on the floor, his efforts won’t go unsung.
2. Soft Scene
3. Hamster Suite
5. Junk For Code
6. Subzero Fun
8. Audience No. 2
9. Capital Kind of Strain
12. Listen to the Order
13. Turnstile Blues
14. The Science of Imaginary Solutions
15. Change My Head