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 keybs, 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.” “Technofasceest,” she hisses, and drives desperate, new unforgivable-synth stinky toys through “the anti-climax of X-mas Day,” leaving them stuck inside a harmon-ically ravenous mobile in “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 baaack.)
NTX + Electric play Sin-é May 14.