What do dark, deep vocals, frantic synth riffs, looping keyboards and a chorus of Japanese schoolchildren have in common? All of these elements are integral parts of The Whip's live show. These things and others, such as the masterful building of suspense and strategically repetitive lyrics, are what make the band unique.
The Manchester foursome, consisting of Danny Saville, Lil Fee, Nathan Sudders and Bruce Carter, describes themselves on MySpace as an electronica/pop/disco house band whose slogan is a caps-locked mission: "I JUST WANT TO DANCE!" And if this was their mission, then rest assured, it was successfully accomplished. The band's set consisted of songs both with and without lyrics but never depended on them. Rather, their show was driven by the rhythmic, pounding beats they produced.
More than just your average electronica band, The Whip creates electronic music with standard rock instruments. Of course, they have the obligatory mixing table and moog. But unlike most electronic bands, their bassist plays a fundamental role, and the lead singer alternated between his moog and the electric guitar, creating the image of a sometimes-rock band.
A majority of the pieces in their seven-song set extended into long instrumental jams, perpetuating the image of a jam band for a new era. "Fire" featured echoing Bowie-esque vocals and a dark progression which, when combined with the crunching guitars, almost resembled a metal sound. Combining several elements at once, the song eventually evolved into a heavy synth jam, whose rave-like feel resembled psychedelic trance band Infected Mushroom.
"Blackout" seemed a return to more standard electronic pop/rock, featuring repeated guitar riffs and a somewhat unoriginal, almost '80s-sounding melody, but The Whip executed their piece with such energy and intensity that one could be convinced of their ingenuity. Upon closer examination, "Blackout" proved itself more complex, with the melody echoed in the bassline and the addition of climbing and descending synthesizers. The interaction between band members also spoke great volumes about their unconventionality, as the lead singer introduced the drummer, who rallied the audience and led the band into the next song.
A highlight of the band's show was the entirely instrumental "Divebomb Kitsume," whose infinite layers consisted of several looped keyboard riffs, a grooving, steady bass and cymbal-heavy drums. Building slowly and purposefully with each layer added, "Divebomb" is the kind of song you can get lost in.
Although each member of the band seemed almost unaware of the others, all leaning in intense concentration over their individual instruments, the connection that existed among them was clearly evident as they so subtly and masterfully coordinated the building of suspense that exploded at several points in the song. The unified sound that resulted made the Manchester foursome sound not like individuals with instruments but rather a skillful DJ hyping up a crowded club.
In combining such a great number of elements, The Whip serves as a convincing argument that electronica is truly where music is heading. All at once, they pay homage to their predecessors while pushing their own boundaries and expectations, setting them up to potentially become a huge influence on the direction of electronica.
You can reach this writer at thescene@theeagleonline.com.
