I left the Luggage Store Gallery with the rumble of euphoniums in my ears. Brian Pedersen and Courtney Sexton had heavily processed the instruments through microphones and pedals, creating a deep-tissue bass rumble. Jeffrey Lievers added more electronics, a white-noise sheen using the other players as source material.
This is the band Dancin’ Baby, a quartet completed by Kit Young projecting abstract analog video onto the stage. On this night in May, they played a single long-form piece, a wall of noise maybe an hour long.
The euphonium looks like a small tuba, with four valves instead of three. But of course, we didn’t hear any conventional euphonium playing. Sexton played a euphonium strapped to an E-flat alto horn, with both mouthpieces close together so that he could feed them with the same breath, doubling the foghorn blasts. Pedersen used a saxophone mouthpiece on his euphonium — and, later, on a trumpet and an actual saxophone.
And there were drums. The drum kit was Lievers’ primary instrument, when he wasn’t at the electronics console, and Pedersen sometimes pounded a tympani to add to the rumble.
Dancin’ Baby creates a thick lava flow of drone and doom. Bits of free jazz popped up from Pedersen’s horns and Liever’s drumming, but really it was all about keeping the wave of sound going — to the point where the drum kit sometimes sounded frail against the storm. The drums got their moments though — such as as an effective blast timed with Pedersen’s first, shrieking notes on the saxophone.
The long-form piece never got quiet but did have moments of evenness, where the rumble settled into low tones and opened the atmosphere for the next phase. Throughout the show, analog video feedback artist Kit Young covered the band in abstract psychedelic projections, colors crawling with oversaturation.