With Hypernova, DJ Chris Ewen
For those of you who are electronically bent, like myself, I suggest going to the Berlinesque dark fantasy that will be Tuesday’s IAMX show at TT’s. If you’re unfamiliar, IAMX is the stage name of Chris Corner, founding member of the legendary trip-hop outfit Sneaker Pimps. Since the first IAMX album, Kiss + Swallow, was released in 2004, Corner has fashioned himself into an elaborate character – full of panache, sex, inebriation and decadence. His sound is reminiscient of the cocaine-dusted clubs of the 1980s, and his newest album, Kingdom of Welcome Addiction, is, as he says, “like Disney world but with lipstick, cynicism and wit.”
Here’s some (edited) footage of IAMX playing in April:
Peaches is an acquired taste. No, I’m not using incorrect grammar. Before I saw this show, I believed the artist formerly known as Merrill Nisker was an enigma, a glittery gay-friendly sex queen with an agenda. After seeing Peaches rep her personal brand of cheeky, synthesized gender-punk, I can’t say anything more about the woman than the fact that she’s a damn good performer and a beacon of modern “free love,” whatever that means anymore.
Opening her set with “Show Stopper,” the self-promoted ‘queen of electro-crap’ entered the stage adorned in a shiny mosaic mask and a puffy pink number that made her, literally, larger than life. Following her entrance, she moved further into her latest album, as well as the crowd. Peaches is infamous for her crowd surfing, and this show was no exception. Clad in a black & gold jester costume, replete with the biggest shoulder pads this side of the 80s, she writhed and squirmed her way onto the Paradise’s left balcony. The crowd was enthralled with her theatrics, which were brief and intermittant – though her costume changes were not. The blood-spouting Peaches of yore is gone, replaced by a mature performer with a slick style, wide vocal range and backed by beats that were polished, but, in her own words, “never overproduced.”