Word: surrealness
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Dates: during 1990-1999
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Buswell contributed his whole body to the effort of the movement, pumping up and down during frequent string changes. The prickliness of Levinson's accompaniment extended even into softest of the movement's intricate modulations. In the Allegro's more surreal moments, he appeared as an icy rain falling down on Buswell's striving persona...
Soul Coughing consists of M. Doughty as singer and occasional guitarist, Sebastion Steinberg on upright basses, M'ark De Gli Antoni handling the keyboards and samples, and Yuval Gabay on drums. Their music is a blend of very danceable bass and keyboard sounds and samples with surreal, beat-like vocals by Doughty. On the tune, "Sugar Free Jazz," for instance, "They normalize the signals and you're banging on freon,/Paleolithic eons, put the fake goatee on/and it booms as cool as, sugarfree jazz...
...crowd went wild upon hearing the opening bars of the first encore, "Screen Writer's Blues." Opening with the surreal lines "exits to freeways twisted like knots on the fingers/jewels cleaving skin between breasts," "Screenwriter's Blues" is a lyrical masterpiece, a fascinating Beat-inspired attack on the entertainment industry in Los Angeles. The deal pan, nearly-spoken delivery of the lines together with the repeating bass line and horn-like keyboard sounds, created the type of mesmerizing tune that lingers in the subconcious well after the show...
Lords of the rosy-cheeked loonies are the Parker Brothers: Bruno (Freddie Davies) and Thomas (George Carl), father and uncle respectively to the deranged comic genius Jack, who seems to have recovered nicely from his surreal trip to the seashore. These three alone could carry the film with their physical comedy routines, evoking the genius of Chaplin and the Marx Brothers. Evans' facial manipulations make Jim Carey look like a looselipped amateur...
Only once in this production is video used in a thought-provoking manner. In one dream sequence, a filmstrip of a surreal childhood canoe trip is projected on the backdrop while the scene is played out on the stage. This creates the disturbingly effective visual juxtaposition which Valdina strives for throughout the play but rarely achieves...