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The Lothars bill themselves as The Only Theremin Ensemble That Matters, and since I haven't heard of any other theremin ensembles taking exception to the claim, I say we give it to them. Tonight they are two theremins, one hammered dulcimer, and a flautist who also runs a lot of electronics. (Including, I later learn, the mixing board, from the back of the stage, which explains why the dulcimer is nigh-inaudible.) The electronics unfortunately include some canned rhythms, but they are fortunately used sparingly. The theremins are both put through a bunch of effects, and if you've never heard a theremin with delay on it, you're missing out. I mean, they're spacey enough by themselves. You can just imagine. The overall effect is VERY trippy and ambient, and I'd actually like to hear a bit more structure from time to time, but it's weird and different and arty as fuck, which makes it perfect for its environment.
Human Shield is certainly weird and different, and even arty in a deep way, but it's not really perfect for this environment. Or maybe it is; maybe what this crowd of non-dancing art connoisseurs really needed right now is to be screamed at ("Is it good to be an art fag?!?") and body-checked by a shirtless man with abundant back hair and a microphone. (I discover that, while it might be totally rock and roll to have your drink spilled all over you by the singer when it's beer, it's much less so if it's orange soda.) With all this crazed screaming and floor-clearing, it takes me a while to notice that the rhythm section is really good. Dual drummers set up a powerful beat, and the bassist (who starts out playing in oven mitts, for which two thumbs up) is fast and intricate and great. The guitars are a weird, noisy stew over the top.
Fluttr are a vastly better fit for this crowd. This isn't exactly a real music venue, so there are some sound issues here, too, which manifest mainly as the singer failing to get any monitor at all. The only way we know this, though, is that she keeps asking for monitor and eventually gives up with a slightly disgruntled expression; there are no sour notes at all. Fluttr are both arty and engaging, ethereal and visceral. The drumming is powerful and complicated, and the cello is surprisingly fierce. The guitar and marimba interplay is phenomenal, like we've all been waiting all our lives for someone to show us that guitar and marimba are supposed to be played together. Sometimes, I confess, the singer gets a bit theatrical for my tastes, but that's really just a case of something that's basically good being taken over the top, and I'm generally not one to complain about over-the-top.
