Monday, May 4, 1998
Live performances aren’t this techno band’s forte
MUSIC: God Lives Underwater suffers from lack of vitality, poor
vocals, same ol’ generic head-banging
By Michelle Zubiate
Daily Bruin Contributor
Four months ago, techno/rock group God Lives Underwater (GLU),
had yet to release its new album and the Philadelphia band’s
current hit single "From Your Mouth" remained foreign to Los
Angeles. The band hoped to find the same success and fan base that
surrounded it on the East Coast, especially in their home state of
Pennsylvania. But does it deserve a spot in the mainstream? After
its performance Wednesday at The Roxy in Hollywood, the answer
remains far from simple.
Both its new album, "Life in the So-Called Space Age," and their
previous, more techno-oriented releases reflect the songwriting
talents of frontman David Reilly and co-founder Jeff Turzo.
Unfortunately, this talent did not pan out as well live as it does
on the album.
A mix of mostly synthesized computer and keyboard melodies and
rhythms, GLU’s sound embodies techno’s newfound success among
mainstream music. But for the band, it appears that their music
still needs work on the transition from the comforts of a recording
studio to the demands of a live performance.
The synthesized madness that gives their album life turned into
an awkward jumble of imbalance between those generated keyboards
and the live products of the conventional electric guitars, bass
and drums. Unlike the very real capabilities of bands like Crystal
Method and the like, GLU’s own equipment seem like children’s toys
in comparison.
The night opened with "Rearrange," a song off "Life in the
So-Called Space Age." The smaller, older crowd, composed of GLU’s
already loyal fans and those ready to be convinced after hearing
"From Your Mouth" on your radio, cheered in anticipation for a
great set.
But soon after the show progressed, this enthusiasm faded into
feeble applause and weak hoots.
The audience’s less-than-stellar response reflected certain
weaknesses in the performance. The vocals provided the first, most
obvious disappointing factor. A nasal whine replaced Reilly’s usual
confidence and dragged down the catchy melodies of decent songs
like "23" and "Can’t Come Down." Although Reilly gave the audience
brief moments of great range and creativity, the actual tone
remained flat and off-key.
The band itself also seemed to lack in vitality on stage. It
rehashed the same generic rock-star head-banging until one got a
headache from just watching it. The band members rarely moved from
defined spaces on stage and spent the entire show hiding in the
shadows.
The lighting, however, resided as one of the show’s few
highlights. Vibrant colors and eerie strobe effects gave the stage
an intriguing glow, submerging the band in a sea of dazzling,
colorful bliss.
Unfortunately, it also harmed the show as well. It alienated the
group from the audience, a technique that might work well in a
large venue but not in the intimacy of a small club like The Roxy.
What the crowd really desired was a connection to the band and not
the strained feeling of a wane stoic rock facade. It killed the
mood of the performance as well, as Reilly would banter between
songs and destroy the effect he was trying to create by remaining
hidden.
And when things seemingly couldn’t get worse, along came the
disappointing encore. It’s probably safe to say that GLU’s forte is
secure within the limits of the recording studio. Place live
performances on the list of things to either work on or avoid.
MICHAEL ROSS WACHT/Daily Bruin
God Lives Underwater failed to impress fans at The Roxy.