Word: musical
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Dates: during 1990-1999
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...keeping with this idea of unconventionality, the band somehow managed to play a sterling, albeit too-short, set and escape the stage without uttering a single word. This disrespect for the traditional protocol of the rock band concert goes a long way towards explaining why Death In Vegas' music, both recorded and live, is as good as it is: the band just doesn't care what you think and is all the better...
...lilting guitar riff of the brooding album-opener "Dirge" kicked off the show, accompanied by a backdrop of World War II military footage. These video projections, provided by Lazy Eye, typically mirrored the repetitive nature of the music, with clips of kaleidoscopic insect heads, and mixing and bouncing faces serving chiefly to set the mood. "Dirge," along with "Dirt" and "Aladdin's Story," contained sampled vocals emanating from behind the live musicians...
...with horns, and as with the other up-tempo selections, the band came off sounding like Booker T. and the MGs in the year 2100. The highlight of the evening was "Flying," off the Contino Sessions. Less psychedelic and more rhythmically insistent than the album version, the densely layered music spiraled seemingly endlessly into a gorgeous wall of sound...
...work, there wasn't a lot for Fearless and Holmes to do. When not twiddling knobs with an almost comical intensity or guzzling Rolling Rocks, they would bop carefully behind their banks of equipment or clap their hands in the air. During particularly intense moments in the music, they would rock to the beat in a perfect, unintentional mimicking of the audience--two diehard music lovers grooving to their own creations. At one point, the two leaders simply turned and stared at the projections behind them, hypnotized by the dazzling "Neptune City." It was a perfect, wordless moment, and crystallized...
...work, lighting is sparsely natural and casting is reduced to four principal actors. It is initially frustrating and somewhat trying to a North American audience, used as we are to seeing the glossy celluloid images associated with high production values. Here we get grainy and bleached images. Similarly, no music accompanies the narrative to underscore the tension and wrenching moments; all we are given is the sound of gravelly footsteps, running water and the other minutiae. The mundane sounds pervade Rosetta's microcosm, because, being unemployed, that's all she has. Because the presentation is frank and honest, and devoid...