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the_deli_magazine

Show Review: Fly Golden Eagle at Queen Art Collective 11.15

Fly Golden Eagle Cap Their Release Weekend with a DIY Blowout

By: Terra James-Jura

November 20, 2014

Pyche-Rockers bring "Quartz" home with a packed show with Faux Ferocious, Chrome Pony, and Clear Plastic Masks

Fly Golden Eagle put out their 26-track album “Quartz” on October 14 on ATO Records, and coupled the release with a condensed 12-track version, “Quartz Bijou,” so it would only make sense to double up on performances to celebrate the release. The band had themselves a weekend full of shows, starting with an in-store performance at Grimey’s, leading into a screening at The Stone Fox on Friday night and culminating with a stacked lineup of friends at Queen Art Collective on Saturday night.

Lacking the substances or endurance to fully appreciate FGE’s masterpiece synced with the avant-garde 1973 epic “Holy Mountain” that inspired it at the Stone Fox on Friday night, the Deli opted to catch their Saturday show. We had yet to check out Tyler Walker’s headquarters off Dickerson, and we so badly wanted to go see The Paperhead, Chrome Pony and Clear Plastic Masks in one night.

It took a moment to realize that the first act of the night was not the “Revolver”-inspired 60’s trip-pop of The Paperhead, the initial opener for the show, but rather Faux Ferocious, who were a last-minute substitution. This move suddenly made the whole bill more cohesive, and we were happy to see the first of some if the heaviest hitters in Nashville’s psych-garage wave tear through their set, which was crunchier and sludgier than our recollection.

Chrome Pony were next in the lineup, and introduced the element of keys that would be a common theme for the rest of the night. We had recently been digging “Burnout” off their brand-spanking new EP “You Are the Pisces,” and it gave us an extra thrill to see it live. The band has a bumming, slumming-around feel to them that we can’t get enough of, and we’re excited to hear how they build on it for their upcoming spring release “Past Lives.”

Rumor has it that Clear Plastic Masks dressed up as the Supremes for a Halloween show in New Orleans, so it made sense to hear them open the set with “And Then He Kissed Me,” (until we found out that it was The Crystals’ hit. Then our sails were thusly deflated.) CPM were the only variation on the hazy West Coast vibe that had been ruling evening, offering instead a hazy, Brooklyn vibe that they will never (and may never want to) shake no matter how many years spent in the 615.

We realize that we’re at the point where we will be able to pick out Ben Trimple’s high register snarl even if it were coming out of a cracked window of a pickup barreling down an opposite lane on 1-65. After hearing him croon, yelp and testify on Quartz and Swagger, it was a pleasure to finally see him live and put the two together. The band was tight after a weekend of shows, and no doubt extra polished form their preceding fall tour with ATO labelmates J. Roddy Walston & the Business. They cranked out a set of genre-bending material to a densely packed room, putting the proverbial cherry on to of a weekend promoting a very conceptual project with a very tangible show, bring the band full circle by putting them back in front of a room full of friends.