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Psychedelic / Jazz BERLIN, New South Wales Deutschland
27.10.2009 Cobra Killer @ Festsaal Kreuzberg
(support: The Smokin' 44s & Die Toten Crackhuren)
Tuesday night Cobra Killer played a set for their record release
party at Festsaal Kreuzberg inspired by debauchery and tasteless
entertainment. To begin the show Gina D'Orio and Annika Trost walked on
stage donning black leather trench coats. Supported by pre-programmed
drums and bassline, the two removed their coats and began the rampage
that would last the rest of the evening. Raising the bottles of red
wine that each had carried onto the stage they poured the liquid over
each other, drenching their previously light-colored dresses with a
deep red hue.
Finally setting down their bottles, the set began. D'Orio was working
most of the electronics, starting the previously programmed beats and
then running to the front of the stage to join Trost to sing and to
thrash their limbs a bit. Every once in a while, the women would play
with some distorted synth tones, but for the most part their beat was
uninspired and uninteresting. Their singing was interspersed with
interruptions as they threw themselves to the ground and stumbled
around each other in their high heels. In between songs they jeered the
audience, demanding that more drinks should be brought to the stage.
As a mid-point in the show, the women left the stage, leaving only the sound of a quick snare drum and repetitive chords filling the hall. The two members of the Smokin' 44s walked on stage, chewing on a bundle of leaves. For several minutes they just stood there, chomping away. For better or worse, D'Orio and Trost eventually came back on stage and resumed the second half of the set, which continued in a similar fashion as the first. The essence of the show was not one focused on music or the quality of the sound that the women might have the ability to produce. Instead it was focused on the performance they wished to act out, perhaps to prove their lack of limits or to try to push the envelope. However, the music wasn't good enough to support the act; merely pressing "play" for some pre-programmed beats and then running around stage was unfulfilling and dull.
Written by Brit-Maren Schjeide
Hang Up the Pin Up
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