Unlike the bird of paradise molded out of a shape of hand which adorns the cover art of their self-titled debut CD, The Aurora Beckons’ music is anything but simple and at peace. Listening to this four-member rock/funk unit reminiscent of Queens of the Stone, Incubus and Jane’s Addiction is more akin to being on a turbulent roller coaster ride rather than floating placidly on a calm lake. The shifting emotion landscapes of sound and song leave one feeling like they are free falling without a net underneath. Darcie Mae keeps the proceedings on edge with a performance that commands your attention and draws you to her every move. Her fixed, penetrating eyes suggest an unrest that’s ready to implode at any minute. She twitches as if bugs are crawling all over her body. Mac seemed possessed as she moved from one barefoot to another in which she tugged at her pant legs in rapid succession. This gesture demonstrated either she was very nervous or moved by something beyond her control. Another physical stance she played up to great effect was the use of exaggerated mock rap poses. This stage mannerisms were similar to what Anthony Kiedis of the Red Hot Chilli Peppers does when he performs. The carminative result of all this activity going on was that Mae shook and quivered her way through a 45-minute set including several original, alternative rockers.
The rest of the band shares equal songwriting credits on their self-titled CD with exception of number "Trigger" penned by Mae only. Showcased were the topical "City of Angels" and "Trigger" and the personal, somewhat quieter but nonetheless, intense "Inside Out" and "Break Down." "Break Down" has radio potential written over it with a chorus that insidiously creeps into your head and stays there. Unforgettable, just like the persona of Mae. Her multi-octane vocal range has surreal and otherworldly quality to it. Mac can scale the uppermost register of her vocal range at its highest point then dive back down to the lowest notes. Another dramatic technique she employs is repeating words several times. Mac stretches and bends them to dramatize the lyrics. On visual level, this wild child takes her cues from the theatrics of Jim Morrison to Iggy Pop in her randomness and predictability. A nod to Alanis Morrisette must be given. Mae has a penchant for the angst and frustration. Even Ricki Lee Jones figures in with the hipster speak Mac channels from time to time that have a jive-like quality to it. Garbage’s Shirley Manson once sang, "I’m only happy when it rains" and "when things are complicated" to paraphrase a lyric. So does Rae. She even admits to liking the darkness in the anthemsque lead title cut, the thunderous, metal tinged "Storm of the Century" challenges the powers that be to bring it on as if she’s bored or unsatisfied by the alternative. Rae doesn’t like it soft or easy. Without saying it but only by implication, she asks the audience to hang on tight and just go for the ride. In contrast, the power trio who supports her provided an anchor for this fearless vocalist. Eric Slater supplemented the material with fluid, seamless guitar leads that were economical as they were tasteful shading his solos with inventive harmonic techniques. He also provided backing vocals. Very low key, the regal, cool Slater stood in contrast to volatile Rae who would spontaneously move toward the curly-haired guitar and strike a pose against him and then go from behind and run her fingers down his chest. Rounding out this trio of musicians holding a steady rhythmic bottom were bassist Joe Cooper and drummer Johnny Z. Cooper and Z provided backing vocals as well. Cooper plunked out deep, funky bass lines. Drummer Johnny Z pounded out determined, energetic, fierce beats. Fronted by a great singer with an unique, captivating presence and equally matched, talented and inspired band, The Aurora Beckons have something special going for them.
The audience at The Gig was taken with them as well applauding loudly for an encore and whistling. Now what the band needs to do is keep refining their material down. The Aurora Beckons should work on simplifying the numbers to fewer moments of grandeur and platitudes that don't always hang together as cohesive songs. For example, “Storm of the Century" and "City of Angels" doesn't deliver the payoff of something bigger only the larger-than-life arrangements hint at. What is left are buzzwords and proclamations that sound like a litany of unformed ideas resulting in songs not always so memorable.
Curbing these apparent over-the-top, reaching excesses is what is needed to grasp more genuine moments of feeling and poignancy to match the driving performances that fuel an otherwise exceptional set of music.
For more information about The Aurora Beckons, contact BGO Entertainment at (310) 559-8667 and (805) 279-0634.
