MUSIC Nov 7 thru Jan 20 Moira Scar lost in the shadows of 1078 Gallery. ParadiseIce

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Burning from the inside Drama, energy and great music at 1078 Gallery

he four-act show at 1078 Gallery recombinant musical DNA, featur- created all kinds of dark dramat- Ton Saturday night (Nov. 16) ing ace Hot Flash guitarist Tom ics thanks to a wide range of gui- was an excellent example of both Little on keyboard, Severance tar effects—from harsh noise to Chico’s eclectic music scene (three Package guitarist Josh Indar on spooky reverb and chorus-drenched of the acts were drums, punk madman Cody Kay atmopherics—and Gamma Ray’s story and homegrown) and on somewhat melodic shouting and synthesizer takes over the role photo by the willingness of guitar, and Elliot Lang on bass and of bass while also adding ambi- Carey Wilson the Chico Area singing backup vocals. Pre-show ent sound effects. I particularly Punks booking publicity summed up the group as enjoyed the climactic song of their collective (not “spoopy punkers from beyond,” set, “NightBite,” which ended in a Review: to mention the yet live it was less “spoopy” (i.e., chaotic swirl of synths over which Moira Scar, Mercury’s host gallery) to spooky) than a high-octane jolt of Monoxide blew a saxophone solo Butterfly, Shadow embrace creativity garage-rock energy reminiscent of that brought to mind some of Nik Figures and of all stripes. The Stooges, The Fleshtones or The Turner’s free-form blasts on early Desperate Hell A self- Cramps. A 30-minute rush! records by seminal space-rockers Saturday, Nov. 16 described “gothic/ Upping the ante of visual and Hawkwind. 1078 Gallery underground” sonic weirdness, Oakland’s “post- Up last was another new Chico one-person band punk freak-deathrock trio” Moira act, Desperate Hell, playing its from Orland, Mercury’s Butterfly Scar took over the stage in horned second show. The “new dark punk/ opened the show with a dirgey set headdresses and face masks. Synth deathrock” crew features members of atmospheric synthesizer-based player/singer LuLu Gamma Ray of Iver and Rogue Squadron, and songs highlighted by singer/com- sported a black latex cat suit, and the music lived up to the descrip- poser Feywer Folevado’s dramatic guitarist/saxophonist/singer Roxy tion. To these ears, the tightly vocal delivery. Standing behind Monoxide was in what might be arranged and well-played songs his keyboards and other electronics termed Klingon casual wear, with came off as examples of excellent in a cloud of fog with hair teased drummer Aimee S. choosing a more pastiche but lacked the experimental and frizzed to fantastic heights, utilitarian sleeveless look well-suit- creativity evidenced by the preced- Folevado brought an undeniable ed to her energetic task. Musically, ing acts. Howls of approval from goth spirit to the proceedings that the trio blended tight, electronically the audience belied my personal drew enthusiastic support from enhanced instrumental arrangements perspective, however, and the that’s the mostly young crowd, many of with primeval rock beats and dra- part of the beauty of live music in whom were similarly decked out. matic vocals. Chico. The impressive range of per- The fairly new quartet Shadow Despite the “deathrock” descrip- sonal tastes and artistic approaches Figures is one of the more interest- tor, Moira Scar delivers music is a big part of what makes the local ing examples of Chico’s constantly that is very much alive. Monoxide scene so invigorating. Ω

NOVEMBER 21, 2019 CN&R 25