Everything in its right place

Theory of Everything II party drops mad science

10 Krog St., May 10 — At times, the theory explored by the Theory of Everything II party seemed one of chaos. Supplies were carted in at zero hour; technical difficulties riddled the secondary “electronic” artists’ showcase. Yet the event’s overall success was more than mere theory — it was a reality.

Held (the organized performances, at least) in a sauna of a warehouse art space, the Theory was literally and figuratively the hot ticket for the attuned. If you’ve ever listened to Hot 107.9 and wondered what they were talking about when they described being out at the hot, hot clubs, here was the place to be. The music was hot. The women were hot. And sure-as-hell the temperature was hot — the kind of 105-in-the-shade, sweat-beads-the-size-of-marbles hot you feel walking into a packed show or walking out of a peep show. It was the temperature more than the temperament that led a lot of people to the parking lot.

The event benefited String Theory’s in-the-works compilation of exclusive local material. And the lineup — featuring Rizzudo, In.cept.date, Ladies Night, the Wrist, Kid Boom Boom, Moreland Audio and more — offered something for everyone. And everyone was represented in the crowd.

Theory of Everything II showed that every aspect of Atlanta’s indie scene could be represented under one roof — if not one groove. Proving the power of word of mouf, indie rockers, art trash, hardcore kids and heads were all reppin’ it, circulating as performances ping-ponged between two rooms.

The party just underway, an Eyedrum vibe carried a few blocks over as A Good Horse Quartet got the smaller rear gallery jazzed, performing a well-greased improv set against a cacophonic backdrop of stenciled figures. Firing up the front room from beneath a canopy of cascading cloth, oil wheels and aquariums projected in opposing corners, Rizzudo’s band of brothers launched aggressively into angular aggro cushioned by a start/stop hammock of analogue electronics. The passionate blend of post-hardcore and prog-rock revved up the room.

In the second gallery, Little Stranger pulled what can only be described as electro Cat Power. But she was just beginning to rip into it when she ripped it out from underneath everyone after not even a song. Bouncing back, Midtown girls airbrushed all Manhattan, made like mannequins to DJ 513’s mix of the Clash, Gang of Four and 2003-meets-1984, while a girl with a hula-hoop put a fresh spin on things.

Following, Airoes quickly found it’s not easy being green. Dressed in a frog costume, the singular abrasive alter-ego of Jeph Burgoon (also of duo the Black Aux) was beginning his set of digital hardcore swimmingly when, after just one song, he blew not only minds but also some power. While frustrating, it was almost a statement, as there are perhaps few better man/machine sensory juxtapositions than those of crossed wires and overloaded circuits. After a few minutes, however, things were again hopping — the drum machine, jolted to life, was again pummeling pump — and Airoes was shredding larynx as he bellowed through the sonic sandblast whipping the sweltering crowd.

Airoes wouldn’t be the last freq freak, however. DJ Gnosis set the SWATS against Sheffield and found them equally matched as the beats of Pastor Troy and Aphex Twin bandied back-to-back to the sway of booty. In the rear, Chris Case contrasted subtle acoustics with drifts of static while following Gnosis and company in the main room, renegade architecturalist Richard Devine sent shudders of nose-tickling bass and cauterizing factory funk through the speaker stacks as he bobbed behind his laptop. And while In.cept.date never was able to perform, Lifeform Project’s Anomaly and crew kept the click track on track.

On those occasions when the stars align, Atlanta’s indie scene can be as dramatic as it is drama free.

tony.ware@creativeloafing.com

chad.radford@creativeloafing.com