Stupidly, I failed to bring a camera with me, so you’ll have to make do without pictures this time around. But don’t fret; it won’t become habit.
All three acts shared much in common, yet were stylistically very different. The groups were two-piece in size, Chicago-based and used synths, guitars and electronics to formulate their psychedelic sounds that mostly fell within house, industrial, goth, funk or some variant of those four.
Deep Earth kicked things off with the evening’s first set. I arrived around the time the show was scheduled to begin — 10:30 p.m. — yet managed to hear just three Deep Earth songs before the boys knocked out their equipment.
I dug their final tune. It carried a sweet and funky baseline and was by far their most accessible track. The pair of songs before it relied heavily on feedback and seemed a bit noisy for the kind of room — smallish — Deep Earth performed in.
No, I don’t have song titles for you, and it’s not on account of laziness. Neither Deep Earth nor the bands that followed them bothered to say what they were playing. And I take it that that’s the norm.
After a change, Elon Katz and Orion Martin brought the house of 75 down with Martin’s unrelenting beats (via electronic percussion) and Katz’s indistinguishable high notes on mic.
Martin, actually, was a joy to watch from the audience. He bummed around on his percussion set like his life depended on it. As soon as their first song commenced, I understood why he removed from his face the thick specks I saw him walking around with earlier.
When it came time for Night Gallery to set up onstage, the boys ran into issues with their electric guitar and spent about three-quarters of an hour trying to fix it. Meanwhile, I took stock of the bar’s decor.
My first time at The Hideout, I liked the checkerboard floor and the random(?) jumbo fish hanging on the walls. Christmas lights hung from the ceiling, as did a disco ball. And I totally appreciated that to my left was the entrance to a gender-neutral bathroom. Five points, Hideout!
When Adam Griffin’s guitar was good to go, Aaron David Ross thanked the crowd — with plastic cups or PBRs in hand — for their patience before roaring into the group’s first goth-fused synth piece.
Griffin and Ross switched vocals every song or so, and played tunes that one could sometimes infectiously dance to, other times sway to.
Their set, as well as the two that came before it, made for an interesting evening of music at The Hideout. Attendees seemed to really respond to the bands, including myself. I feel like I’ve come away with a deeper respect for their genre.
- Sorry, again, about the photos.
- Night Gallery’s Constant Struggle is available on cassette for $5. The album, which costs $10, is on pre-order and will be released on Tuesday. Click here for details.