Busybodies Caught
Busybodies Caught in Concertina and on Suspenders in the Dark
NTX + Electric, We Are the Wild Beast; Metal Boys Featuring China, Tokio
Airport
by Don Allred
May 10th, 2004 1:30 PM Issue 19
May 10th, 2004 1:30 PM Issue 19
Non-typical Texans NTX + Electric
photo: Carol Kelly
NTX + Electric
We Are the Wild Beast
Girlgang
Metal Boys Featuring China
Tokio Airport
Acute
In the 21st century, on non-typical Texans NTX + Electric's We Are the Wild
Beast, there are no drums, there are no bass (strings, that is). Here, time is
cellular. Erika Thrasher's filthy walls of fingers and toes squeeze keys,
pedals, and vacuoles, eliminating Brandon Davis's (writhe, not thrash) guitar,
eternally. Candice Vincent's Vaseline sax vestigially lights his way (and
everybody's). Nikki Texas's throat explains that behaving like barbed wire is "only
so we know not to tangle." Too late! But that was just a dream, underground,
waiting to be found by starving shepherds and taken to jaded hunters. Who will
fall on their bionic knees.
Doubt ye? Consider this: "The rain won't let my tits grow. Napalm you're so
good in bed. How many flies ate you today? Let's get hungry tonight." That's
China whinin', like a siren, on "Suspenders in the Dark." She sings for Metal
Boys (recombinant shards of Parisian punk pioneers Metal Urbain) on 1980's Tokio
Airport. Now unearthed, and still flying together/apart on every track, Metal
Boys' sexelectric dragon's teeth gnaw and gnash at China's objet
d'amour-hate, "Tokio Airport": the place, the sign, the song, the other designee? "Technofasceest," she hisses, and drives desperate, new
unforgivable-synth stinky toys through "the anti-climax of X-mas Day," leaving
them stuck inside a harmonically ravenous mobile tagged "Carbone 14." Later, in
penance and/or celebration, China dances barefoot for a "Paranoia Carnival," on
tone-nails of gilded Pong. (That's un certain game, kiddies. I hear it's coming
b-a-a-ack.)
photo: Carol Kelly
NTX + Electric
We Are the Wild Beast
Girlgang
Metal Boys Featuring China
Tokio Airport
Acute
In the 21st century, on non-typical Texans NTX + Electric's We Are the Wild
Beast, there are no drums, there are no bass (strings, that is). Here, time is
cellular. Erika Thrasher's filthy walls of fingers and toes squeeze keys,
pedals, and vacuoles, eliminating Brandon Davis's (writhe, not thrash) guitar,
eternally. Candice Vincent's Vaseline sax vestigially lights his way (and
everybody's). Nikki Texas's throat explains that behaving like barbed wire is "only
so we know not to tangle." Too late! But that was just a dream, underground,
waiting to be found by starving shepherds and taken to jaded hunters. Who will
fall on their bionic knees.
Doubt ye? Consider this: "The rain won't let my tits grow. Napalm you're so
good in bed. How many flies ate you today? Let's get hungry tonight." That's
China whinin', like a siren, on "Suspenders in the Dark." She sings for Metal
Boys (recombinant shards of Parisian punk pioneers Metal Urbain) on 1980's Tokio
Airport. Now unearthed, and still flying together/apart on every track, Metal
Boys' sexelectric dragon's teeth gnaw and gnash at China's objet
d'amour-hate, "Tokio Airport": the place, the sign, the song, the other designee? "Technofasceest," she hisses, and drives desperate, new
unforgivable-synth stinky toys through "the anti-climax of X-mas Day," leaving
them stuck inside a harmonically ravenous mobile tagged "Carbone 14." Later, in
penance and/or celebration, China dances barefoot for a "Paranoia Carnival," on
tone-nails of gilded Pong. (That's un certain game, kiddies. I hear it's coming
b-a-a-ack.)
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NTX + Electric play Sin-é May 14.
.
posted by Don Allred @ 12/23/2005 09:05:00 AM
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