Beach House and Papercuts at the Middle East Upstairs (3.31)
Papercuts are a reminder of why bands exist. Rock bands are often a respite for those who do not, or do not feel they belong. They’re home to ripped tees, three piece suits, or men wearing sequin dresses. God, satan, sadists, nerds, dweebs, skinny people, fat people, communists, acid freaks, and drunks are all welcome to enjoy the party that is music and Papercuts’ odd grouping may not include any of the above, but they’re off track enough to fit no where, but a band.
The band consists of the perfectly imperfect lead singer and guitarist Jason Robert Quever who is a squat, somewhat chubby man with lower cheek length greasy hair. The bassist Trevor Montgomery (pictured here) is his foil as a seemingly hulking giant. His large forehead, long (also) greasy hair, massive hands, and laudable moustache exude the idea that he was born with two options: musician or lumberjack. Kelly Nyland is on drums and features mousy, short, dark hair with the ever-so-hip southwestern American Indian tee. Alex Scally of Beach House played keys and was the only one who didn’t really fit in because he looks too hip, or, dresses and looks as if he is in a band rather than dressing and looking like being in a band your only option.
They’re a band that allows the audience to immerse themselves in their sound. Montgomery’s bass line is always easy to pick up and focus on as the guitar, drum, and textured organ/keys envelope your head. The keys were quite spacious giving perpetuating sound above the guitar and at times spraying its sound onto the floor like a punctured hose.
Cutting through the sound was Quever’s vocals which were much more poignant live. He was unafraid to let his voice rise to just below breaking reminiscent of to the high pitched Daniel Johnston (who seems to have influenced Quever’s vocal style). For their last song Victoria Legrand of Beach House joined the band on stage adding some powerful “woooooo’s” to Quever’s vocals and the band’s sound. The only real vocal misstep was Scally’s backing vocals during John Brown, which were a bit abrasive and off.
I enjoyed their short set very much. Although their on stage movements are not anything wild the fact they look as they do and bounce back and forth is enough. The songs achieved a different feeling than on their albums and their sound is a pleasure to be immersed in.
After the show the people to the left of me said, “They were boring.” The group then went onto scoff at any manner of “deviant sexual” conduct. That’s your alternate review of the show by a bunch of prudes.
Beach House
They were a bit boring.
Basically, going to see Beach House live is the equivalent of putting the band on your stereo, turning down your room’s lights and switching on underwater looking strobes.
Okay. Maybe that’s not totally fair. Scally dressed in a white suit of sorts and Legrand wore a blouse and high belt that are reminiscent of the scariest of Jersey mothers. The addition of her commanding voice made me think of her as the Tokyo Witch from New Jersey.
Also, the performance helped flesh out many of the songs on Devotion that I was having trouble approaching and as I mentioned earlier Legrand’s voice is a pleasure to listen to as it is absolutely booming at times. And although Scally was having monitor troubles throughout the set they sounded very good, but they sound good when they’re playing through my earphones too.
The group of four next to me really dug them though. They were grooving along the whole time. I guess the lesson I’ve learned is that faux prude-deviants dig Beach House, not Papercuts. Both bands have a couple stunning albums between them.
Beach House – Heart of Chambers
