Rachel's/Matmos
Chicago, (May 28, 2000)
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Rachel's
Chicago,
May 28, 2000 |
Despite having their backs turned to the audience and being hunched over a table filled with samplers and PowerBooks, Matmos served as a very expressive opening act. The music produced by the electronic duo was a reflective mixture of acoustic slide guitar processed and addled by a slew of electronic tools. The synthesis of electronic and acoustic sounds was seamless and didn't come off sounding as forced as other pseudo-acoustic-electronic-acts tend to.
Rachel's took the stage and started their set off with a very melodic and upbeat piece. This rather "optimistic" tone set the mood for the set that evening. It was surprising to hear this side of the band, as the group's albums seem dominated by a more sullen and contemplative tone.
The set included a good number of tracks from Selenography, including an especially affecting rendition of "An Evening Of Long Goodbyes." The band interplay was incredibly tight, despite the complex dual harmonies of guitar and piano melting together beautifully and coalescing with the other instruments.
The swirling lines of the cello and viola seemed to be the focus, acting as the lyrical facet of the group. In each song they seemed to be directing a narrative of hopeful reflection. The most impressive aspect of the band, however, was the percussion section. The sound of the drums was very distinctive, very punchy and live. In addition, the use of electric vibes gave many of the songs a warm, comforting feel. Furthermore, the drums gave the music a backbone and direction, yet never stole the spotlight from the more subtle, stringed instruments.
The only major downside to the performance was the Rachel's/Matmos collaboration on the penultimate song. While the split EP that came out earlier this year demonstrated Matmos' remixing abilities, the live collaboration was far from satisfying. Both the cellist and viola player looked completely lost, the drummer seemed to be fighting the electronic rhythm, and Jason Noble's normally inventive bass lines were forfeited for a mere wah-wah freakout.
Aside from that misstep, the only other quibbles with the show would be the unnecessary and painfully unfunny banter from Noble, and the boring clip-art slide show that accompanied the set. But in all, Rachel's put on an excellent show that exposed the crowd to their infinite talent and the more melodic aspects of their music.
MATT BROWN |