The location was venerable Ft. Lauderdale. Florida venue Culture Room.
On arrival a lengthy cue was already waiting to get in.
Opening the show with "Blackest" from their most recent album “Pe'ahi II,” it's descending “detective story” guitar melody is instantly recognizable. That suddenly drops out leaving behind changeover “ooohs” and a stark rendition of the songs lyrics. “When I rise on my wave - the moon shows her face. A lonely dot at sea - a lonely girl coming straight at me.”
Immediately following that was another track from the same album (it would eventually be discovered that the entire setlist would be blocks of songs from one album, before moving on to another) and a personal fave track "Killer." It's chorus hooks you in immediately with the battle-scarred relationship lines “Kill for love, and make it so I don't care. Most of the time, I felt so alone.”
On more from that same album with the forward charging rocker "Speed." True to the song title, it’s fast paced, tasty guitar lick driven.
Choosing to play only one song from their 2003 debut full-length studio album, Chain Gang of Love, they went with the albums most recognizable track "That Great Love Sound."
Moving to their 2005 album Pretty in Black, first up was single "Love In A Trashcan."
Followed by "Red Tan" from that same album.
As well as "You Say You Lie."
Pivoting to their 2002 debut mini-album Whip It On, "Attack of the Ghost Riders" was up first.
Followed by "Veronica Fever"
As well as the blistering "My Tornado"
With "Cops on our Tail" as a fourth entry from that record.
Shifting focus to their 2007 album Lust Lust Lust, "Hallucinations" was first up from that heady period.
Followed by "Dead Sound"
Then it was on to their 2014 seventh studio album Pe'ahi with "Endless Sleeper." Fuzzy bass, shuffling percussion and deep twang guitar figures alternate between dense layers and open spaces. Lyrically, its one part songwriter Sune Rose Wagner recapping a near death experience from drowning while surfing a number of years back. Sudden bursts of quick flashing pulses match the tracks violent sonic outbursts, which in turn perfectly underscore appearances of tranquility abruptly exploding into violence.
Followed by "Sisters" from that same album, with it's frenzied guitar destructiveness and sonic landscape of beautify mayhem.
Perennial pre-encore show ender (and Lust Lust Lust album opener) "Aly, Walk With Me" is always a high point of every show.
For the encore Sharin took the spotlight singing lead vocals on their 2010/2013 Dr. Martens commissioned cover of The Stone Roses "I Wanna Be Adored."
Along with Sune handing his guitar to drummer Jakob to throttle, while he went solo on the mic for the 2011 album Raven In The Grave classic “Recharge & Revolt”
Show complete, the backstage shenanigans came fast and furious.
It's always a pleasure catching up with these amazing musicians and great people.
Looking forward to future shows down the road in sunny FLA.
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Opening the show was alternative/dark wave band Astari Nite.
Accompanied by a solid guitarist and multi-layered keyboard player, the electronic trio filled this venue with a captivating sound and light show.
"I always wanted you"
"Bowie In Daydreams"
Finding inspiration from Andreas Weber’s book “Matter and Desire: An Erotic Ecology,” the band completed their unfinished songs (some 8 years in the making) that focus on “the moment before something changes forever.” Opening track “Intro444” combines ominous background sounds with spoken word lines (delivered by guest vocalist Devery) that state “I have a theory” morphing into “I HAD a theory.” The swirling, pulsing ambiance progresses mysteriously as vocal declarations float in and out “you have to honor me” and “in this house – renewal – creation.” It’s tense film-score sensations as voices continue with statements “to crawl, to walk, to run.”
Follow-up cut “Shedding Velvet” emerges via percolating machine-driven synth arpeggios that have been the staple of club music since forever. A solid 4-on-the-floor beat powers underneath orchestral melodies floating above. The rhythm is quick and motorik with synth stabs and ghostly voices adding depth during both it’s quieter and more frantic passages.
“A Map For Birds (Behind The Glass)” is a hypnotic deep space meditation that seduces the listener into a trance-like state. As the lengthy (over 5 minute) recording evolves, hard-slap percussion, throbbing sonics and female vocals are interwoven for otherworldly effect. Liner notes indicate they’ve been developing this one in their live shows “for what feels like a decade,” before finally being able to “capture it on record.”
Featured track “It's Not That Bad, Muffin” also comes accompanied by an Official Music Video. Depicting a “Groundhog Day” scenario where Russ repeatedly wakes up at 7 am and goes about his daily routine. Against a heavy synth-stab and trip-hop percussion beat, the image of someone stalking him (Laura) appears, cut in with bloody drops in the snow. As the music rises in intensity, with higher-pitch synth notes cutting through, Laura’s murderous voice drifts in and out with dramatic audio quick stops. Russ ultimately stops in to a bar to get a drink. When the bartender steps away, menacing Laura takes his place, forcing him to make a run for it. However, there’s no escape from “murdering” Laura, who ultimately takes the 7 am wake-up place as the videos final scene.
Check out this deliciously macabre video here:
A majestic orchestral intro is first heard on the ultimately Lynchian rendition of 17th century Irish Gaelic poem “Táim Sínte Ar Do Thuama.” Numerous artists have covered this authorship-lost-to-time piece with it’s more recognized anglicized title “I Am Stretched On Your Grave.” For this version, Laura is tasked with an unsettling vocal rendition, with low-end percussion and layered sonics.
Penultimate cut “Vegetation” rises out of a pulsating electronic backwash, with Laura commencing another spoken-word segment. Much like the dense thickets of its title subject matter, additional audio layers roll in and further obscure ones ability to traverse and cut through. With a subtle jungle thump emerging, Russ now joins the fray with more intense shouted vocals.
Final entry “Dissociation (A Map For Birds)” serves up an alternate dub mix of previous (behind the glass) version. With less background activity, emphasis is placed the voices recorded, rising up (and then out) of the mix. A more playful audio trip, it serves as a perfect closer to this overall fascinating collected recordings.
It was soon discovered this was Lulu, the "mayor" of the venue and neighborhood.
“Matter and Desire” is on the Re:Mission Entertainment label and can be ordered here.
Follow apbwas on their Social Media: Facebook - Instagram - Official Site
Previous DCW features on this artist can be found here - here - here - here and here.
Cathedral lighting and atmosphere further enhances the power of each song performed.
The aura is dramatic with touches of goth-rock melancholy.
"Unisex Games" - vocals draw from Bowie influence in both tone and diction. Early Peter Murphy (in Bauhaus days) is another point of reference.
Meeting the artist post show is always a rewarding experience.
Follow this darkly dreaming glam wave band on their Social Media - Facebook - Instagram - YouTube - X - Official Website
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There was a period of time in the year 2019 when this site covered live shows by the electro-art collective A Place Both Wonderful and Strange seemingly ever other month. The history goes back even further with a detailed album review in 2018 and very first live show personally attended in 2017. Along the way the band members took a hiatus from apbwas to do other things, including their wildly popular ADVENTURE[s] Robyn Party, acting, art projects and living their lives. After this writer moved to Florida, it was a pleasure to catch up with Russ and Laura in 2024 for their appearance at Crux in Orlando. Now back again for another Crux/Orlando show, the band also has a brand new album “Matter and Desire.” A deep dive analysis on all of this commences below.
Third entry “Crying In An Uber” leans on world music percussion to establish it’s rhythmic base. Vocals are purposely buried deep into the mix, serving as one more ambient element, rather than direct storytelling. Liner notes, however indicate someone is witnessing “an apocalypse happen” (watching nuclear destruction coming this way?!) which would be more than enough to make anyone cry. Cryptic clearly-heard vocal inclusions such as “a light at the end of a tunnel” add more questions than answers to the heavily percussive outro.
In addition to this wonderful album's debut (both studio version and live renditions) were many curious sights encountered in this arty village and gallery/bar.
On arrival a majestic and relaxed cat was spotted, seemingly owning the streets outside.
With honors this regal individual so obviously deserves.
Being an art space, a variety of vintage photos (1921!) and paintings adorn the walls.
The night's theme was a Twin Peaks Costume Contents and the participants did an amazing job.
Out front with the best David Lynchian band there is.
Thanks for never forgetting to come to Florida!
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