DrFameus Rocks The Box
In a quiet corner of industrial Brooklyn, the seeds of a scene have been sown. The Paper Box echoes the sparse structure of innumerable makeshift warehouse venues, but veers closer to legitimacy. With all the familiar hallmarks of DIY spots (graffiti-heavy courtyard, handcrafted decor) and the comforts of more upscale spots (craft beer, food), the Box seems poised to become one of the borough’s top off-the-beaten-path haunts.
A few weeks ago, Boston-based arts collective The Brain Trust put together a nice little Saturday night at the Box. The Disco Biscuits’ robotic drummer Allen Aucoin headlined a night of electronic leaning jams featuring some up-and-coming Northeast groups. Familiar faces filtered in out of the rainy night and though the crowd was light the possibilities of future packed dance floors portended.
ShwizZ kicked things off, augmenting their precise brand of progressive jam funk with friends from the peripheral Hudson Valley jam scene they have helped incubate. In the span of their relatively short set, the group displayed their improv chops and concluded their set with a spacey outro jam that interwove with bright abstract projections in a delectable blend of psychedelia that would persist throughout the night.
After a few tunes spun by Mikey Likes It, whose wobbly basscentric beats kept the party going in between sets, the Berkshire-bred trio Higher Organix took to the stage for a set that ranged from heavy distorted womp reminiscent of dubstep to more cerebral electronic excursions tinged with reverb.
As DrFameus took the stage the bass amp levels shot up, rattling drinks on the bar. With a backing soundtrack drawing heavily from drum and bass, the good doctor filled the spaces with deliberate rhythmic patterns, infusing club bangers with organic texture. Through minor technical difficulties, the dance floor pulsed under prismatic flowers as Allen Aucoin methodically worked his way in and around throbbing electronic beats. Displaying a dexterity familiar from Biscuits jams, but freed from the constraints of beat keeping, he was free to explore any rhythmic tangent to devastating effect.