DARTH VEGAS – Brainwashing For Dirty Minds TUESDAY, 24 APRIL 2012(Romero)
Horrifically comic burlesque on acid
On their second full-length album, Sydney band Darth Vegas showcase some bizarre and original ideas. The vintage sepia-toned ‘50s influences that pervade their music also invade the cover art, which is as colourful as the album itself. The myriad sounds that come through on Brainwashing For Dirty Minds makes it difficult to pigeonhole generically. The best I can come up with is jazzy steampunk, reverberated through carnival-esque surf pop and looped through multiple distortion pedals. With such a diverse style and influences from just about every musician who has ever lived, Darth Vegas deliver a predominantly instrumental piece of art. It could almost be the soundtrack for a documentary about Tim Burton’s film career, the album’s fantastical and inventive nature suggestive of wild imagination. Slipping from jaunty accordions to wistful panpipes and into Metallica-inspired metal cameos, Brainwashing For Dirty Minds certainly keeps you on your toes.
Rave MAGAZINE http://www.ravemagazine.com.au/content/view/32629/181/
c/o RedBackRock (redbackrock.com)
The latest musical troupe from former Vicious Hairy Mary (and weren't they an awesomely eccentric lot-Ed) head honcho/loony Michael Lira, Darth Vegas have seemingly relocated from another galaxy to Sydney, bringing with them a debut album thatís a total treat for the more ambitious listener.
With much in common with the musical stylings of Russian act Messer Chupps, Darth Vegas mix numerous genres as diverse as death metal, free jazz, surf rock and carnival music.
Essentially itís the soundtrack for a cult B-grade sci-fi/horror/porno film about an opium-addicted ghost falling in love with a nympho robot with four breasts, set against the backdrop of a war between a horde of vampire gypsies and surf≠loving ninjas from outer space.
Or something like that.
The album was recorded in just two six-hour sessions, indicating these are really talented musicians who know their craft. Itís just that they want to use their talent for evil purposes, not good.
The brass section of El Flamo and Johnny The Bard are top class, especially on "Bomb And The Snowman," while the saxophone and drum interplay between El Flamo and Alon Ill Scar during "Kowai-Go-Zero" is brilliant.
More eclectic than his previous act, Lira plays both bass and keyboards, filling out tunes such as "Nano Nano" nicely, while JCís guitar shifts between quaint and heavy as concrete on "Captain Terrific."
Describing each song aptly is virtually impossible, but with titles such as "Mephisto Mash," "Ghost Train," "It Came From Beyond," "Spook House," and "Revenge Of The Claw," rest assured itís a wild and wacky ride.
And kudos to record label Valve for continuing to bring the weird and wonderful of music from around the world to local audiences.
If youíre a fan of Mr. Bungle and the like, you should meet Darth Vegas, because this album is brilliant.