Upon our arrival at the Fonda Friday night, it was clear that an opening DJ was more appropriate for Ghostland Observatory than a band. This choice of opening act enabled conversation, allowing anticipation for the performance to build. Whether I was talking to people who trekked from Ventura or chatting with the music coordinator for Coachella, it was apparent that the Austin odd couple had drawn many indie music fans together. Ghostland Observatory has recently generated a lot of hype: Theyve hit several festivals in the latter part of 2007, made a debut appearance on Late Night With Conan OBrien, and released a live DVD. Needless to say, the duo has been very busy since quitting their day-jobs a year ago. Such success had a young show booker, who was visiting from Austin, loudly proclaiming she knew them when in the bathroom.
When the curtain finally lifted, Thomas Turner and Aaron Berhens embarked on their phenomenal blend of high pitch vocals and electronica beats to immediately set the crowd in motion. Many who had stationed themselves in the upstairs balcony relocated, realizing the appeal of the vivacious crowd below. LA kids learned quickly that it was a hot night, too hot to play it cool.
As Ghostland Observatory led into their most popular single Sad Sad City, I momentarily wondered if they were climaxing too early, but these guys had a meticulously orchestrated agenda. With the help of Behrens interpretive gyrations and Turners inventive, pop-sensible beat construction, the night flew by. After working up the crowd, the two snuck in a block of new music. With funky-fresh beats and quirky lyrics, Ghostland Observatory confirmed that cohesion would continue on their forthcoming release, Robotique Majestique. The duo then brought back the acute level of energy for the evening with the crowd pleaser Piano Man, staging a duel between distorted guitar and jazzy piano.
Turner, the caped mechanical mastermind, plugged away at the synthesizer, keyboard, and drums to create a momentous compilation of beats (the cape was made for him by his wife.) His precision and transitions were essential in keeping the audience on the move. Meanwhile, Behrens channeled his dance troupe past and MC Hammer moves to physically guide the crowd. Even when behind a guitar, Behrens could not mask his smiling content with the art of the evenings performance.
Throughout the night, a mystic setting was established by pairing hundreds of green laser beams, emerging from only two projectors, with smoke from the stage. When the duo first returned for their encore, the cloud was so thick you couldnt see the artists. The curtain of fog and lasers yielded a riotous uproar for the ethereal, transcendent sounds of Silver City. The visceral quality of the Turners bass, integrating its low vibrations into the showcase, made the entire act quite a sensory experience. And when the lights went up, the sweat that crowned every hairline in the Fonda (including Ice Cream Man himself) displayed the satisfaction felt by all who had experienced Ghostland Observatory live.
