Engaging Sounds Propel Benefit

In the same week in which a local merchant’s goofy “Free Winona” T-shirts (referencing actress Winona Ryder’s recent arrest on suspicion of shoplifting) garnered media attention, a more serious campaign supported by a handful of L.A. bands received relatively little notice. It was a sparse crowd that showed up Wednesday at the El Rey Theatre in L.A. for a concert benefiting the Free the West Memphis Three Support Fund.

Highlighted by noisy drone-rockers the Autumns and the 11-piece W.A.C.O. (for Wild Acoustic Chamber Orchestra), the concert, which also featured the gothic thrash of Dick Army and distorted melodies of Parlour, brought attention to and raised funds for an appeal by Arkansas death row inmate Damien Echols. In 1994, he and two other then-teenagers (who are serving life sentences) were convicted of murdering three 8-year-old boys in West Memphis, Ark.

HBO has produced two documentaries on the trio, and artists such as Tom Waits and Eddie Vedder have spoken on their behalf. Supporters contend that the young men, wrongfully accused of being Satanic cult members, are innocent and were prosecuted because of their “unconventional” appearance. Echols was the focus of Wednesday’s benefit because his situation is the most urgent.

“Anyone who’s been persecuted for dressing in black should empathize,” Autumns singer-guitarist Matthew Kelly said during his group’s set. Brooding and atmospheric, the songs evoked the quiet misery of someone caught in a situation beyond his control, but there were also moments of drifting peace and angular bits buzzing with understated frustration.

W.A.C.O., which adds flute, trombone, bassoon and cello to the usual rock instrumentation, offered a short set blending classical, jazz, pop and soundtrack-style music in a Brian Wilson-esque fashion, i.e., at once wide-ranging and carefully structured.

Although low-key, the music stayed engaging by veering from jaunty to discordant to driving, and keyboardist-guitarist-singer Steve Gregoropoulous’ quavery, Neil Young-like vocals lent some songs an appropriately wistful quality.