Being back in the Emerald Trinity was comforting, and there was no doubt that EOTO was about to bring another night of hard womps and steady rhythms to the heady Humboldt public. The night began in quite a rush; running errands, picking people up for the show… my anticipation for round two of the EOTO run mounting with every passing minute. On the way down, the mood in the car was filled with elation and giggles, and I was well stocked with film (thats right, film: Hardware Heroes) and back-up batteries to avoid missing out on the night’s awesome visuals. There was no opening act, so Michael Travis and Jason Hann were to play for three hours or so- this time with an intermission- like normal people (read about their recent 2 1/2 hour non-stop set in SF in Part One). Upon arriving, I was happy to see the familiar rage worthy regulars and the two man live art team that is VORCAN back at it, providing concert goers with amazing 3-D paintings inspired by EOTO‘s live improvised music. Another power pair of the older generation who are providing a prime example of the brilliant possibility to survive a lifelong non-stop tour schedule.
Originally from the Dirty Jerz and Philly, Vort and Cank {VorCan} are lifelong music fans and accomplished professional artists who have toured the States and Europe several times over, now basing their art company out of the Northwest. An example of the duo’s ability to keep it moving is their “50 paintings in 50 days in 50 states” project, a cross country tour painting in a new city every day, ending in Hawaii, and then touring all states again, displaying and selling the 50 different works. It was during this project that they first met and began touring with EOTO, who provided 10 of the 50 days’ inspiration for Vort and Cank, touring the Southeastern states. This type of live art is very visually stimulating; the precise application of the appropriate lines of the right color, paired with 3D glasses provided by the artists, allows music and art lovers alike to view works in the third dimension while they are being created. Prices of their work are very reasonable and some can be purchased at 50dollarlunch.com, where a new piece is offered everyday for $50. I encourage all lovers of music and art to check these guys out, as they have mastered the ability to fuse the two into a tangible medium.
When asked about how they are able to stay sane doing it night after night, Cank told me that having a partner is key. “Being able to relieve each other so one can go out and escape the womps for a spell and refresh the mind is a crucial element to being creative consistently,” he said, adding that some of his favorite pieces are ones where one artist finishes the others work and takes it in a totally different direction. From what I could gather, most of all the biggest inspiration for their art is, of course, the music. And I was extremely excited when they informed me in S.F. a few nights earlier that EOTO‘s sound was evolving in a dark manner, and the recent show in Lake Tahoe, CA was compared to “a circus mixed with the basslines of Bassnectar.”
When EOTO took the stage, the Tuesday night crowd was more than ready. Although smaller in size, the rage level seemed to already surpass Friday night’s audience at 103 Harriet street. Immediately diving into the wobbly synth patterns and slow 2-step beats of some simply nasty grime, the two took off and continued on throughout the evening- switching seamlessly between tunes, never repeating a note from Friday’s performance. My primary focus this evening was photos, as a technical difficulty during Friday’s show concerning my camera prevented any pictures of EOTO in SF. The vibe of the intimate Red Fox Tavern was heavy with happy tones and intense appreciation of the evening’s visual and auditory elements.
One notable change from Frisco’s show (besides the crowd) was that Jason Hann seemed to steal the show, providing more lyrics and effects, and absolutely killing it on the drums. Even at times keeping rhythm one handed, while pounding Poland Spring bottles and tickling the APC 40. An intense bongo solo sticks in my mind the most: Jason‘s face turning as red as his t-shirt, his eyes fixed on a 4th dimensional space, lost in his world, entrancing the crowd. As the solo rallied and crashed into the next drop, drum sticks appeared in his hands instantly, on to the next rhythm without missing a beat. The crowd erupted into a frenzy, and I found myself flailing limbs and jumping to the ceiling, at times suspended in air for minutes on end.
Both sets of the evening- as well as both shows- flooded my ears with a myriad of electronically fused genres, providing even more evidence to the mounting pile that exists in my heart and mind already that this duo is unstoppable. They take each experience to a new level, and although sometimes varying in vibe, are consistently seamless and technically perfect. Ideal for cruising around on a bLunt ride, just as suitable in a packed out dance floor full of smoke and lasers, the End Of Time Observatory is an act not to be missed- & knowing them, it’s only a matter of time before they are in your neighborhood.
This has been the Doctor of Rage, D~R Dyaphonoyze, and I hope you liked experiencing my adventures into the sounds of EOTO and the visuals of VORCAN. Many adventures lay ahead. Until next time, be sure to keep it moving, lose & use your head weekly, and be on the lookout for interviews with Marty Party and David Starfire coming soon. And if you’re in NYC looking for a good time party with Orchard Lounge at Club Love this Thursday, come out to support LiS’s co-founder, Editor-in-Chief, field reporter and primary rager, Ranchsauce.
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