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The
Death Set
Worldwide
Counter Records |
It
might be hard to anticipate how The Death Set’s records
might hit you – that is, if you think that distortion
and mayhem are all they have to offer.
To the curious but outside observer, the Australian-imported/Baltimore-enlightened
band is a touring foursome whose seemingly riotous live shows
absolutely slay their crowds – which would be the truth.
It’s a noise-fest, indeed – with downright ear-splitting
crashes of guitars, youthful but haggard vocals, feedback, distortion
and audiences singer/founder Johnny Sierra prefers to engulf
the band. Any random photo from a typical Death set will most
likely show the images of sweaty guys and chicks in the pit
with the band – and that’s because The Death Set
avoids stages whenever they can.
Sierra likes to be on the floor – practically entangled
with his audiences. Sometimes, somebody gets hurt. Risks of
injury were certainly minimized at their well-regarded set at
this spring’s South By Southwest, the Austin, Texas’ annual, career-boosting music festival, which had the band confined
to playing a traditional stage.
But it’s not about compensating for whatever their shows
may lack; it’s about community with Sierra.
In a mix of songs about everything that screws us up, there’s
humor and absolutely zero pretense. Thanks to the miracle of
samplers and sequencers, loops of The Jackson Five or even Salt-N-Pepa
are somehow worked into what is, foremost, a thrashin’ show.
Then, there’s the other side to Sierra’s musical
psyche.
He freely voices his respect for electronica and hip-hop, and
he celebrates that in several tracks on band’s new album,
Worldwide.
This is when The Death Set is comprised by its co-founding twosome,
Sierra and Beau Velasco.
Those expecting the unrelenting insanity of their live-shows
when touring members (Peter O’Connell, Japhet Landis and
Dan Walker) are on stage with them might do a double-take with
a Death Set record.
These boys own a drum-machine, and they’re not ashamed
to use it.
Still, it’s a wholly punk record, but charmingly geeky
keyboard-riffs run the gamut from electro to downright Casio-meets-Atari.
If they’re in touch with their collective, inner-geek,
they’re also in touch with their inner-Beastie Boy.
Worldwide manages to be a cohesive project: “Day In The
Wife” is a speedy, all-yell vocal smack that says all
it has to say without leaving you asking questions; yet, “Listen
To This Collision” is equally speedy, but its vocal is
more melodious, if not slightly haunting. “Superzero”
is more ethereal, but The Death Set spirit isn’t at all
dimished.
What holds this collection of seemingly meandering material
together is its primary musical components.
The duo doesn’t switch gears on us, but to get the full
picture of The Death Set, you really should see them.
But come wearing protective gear. |
Their
shows look like this...
...but
their album is more like this. |
