One man with a beard and long brown hair is dressed up in an old school black and white striped prison outfit, only wearing a black top hat so you half expect him to be riding a unicycle.
Then there is the guy with the neon red braids who is wearing enough studs and hooks in his ears to match his pants that resemble nothing so much as a black shower curtain. I feel like I have entered an evil carnival. I came here to see Dommin. He looks so much like actor Alan Cumming it makes you do a double take. He comes out in a trenchcoat with an upturned collar. The spike of his black hair points like a knife down the center of his face, concealing his eyes.
I think he is channeling Eddie Munster after he ran away from home. He is obviously a soon to be discovered genius as he sings, and plays both guitar and keyboard on the album AND all songs, lyrics, music and arrangements are by Dommin as well.
I dig the sounds. Definitely a mix of new wave and gothic, if by gothic you are defined by a multitude of church bells, haunting choirs and possessed harpsichords. I can definitely see Dommin becoming the next Danny Elfman or, ahem, Bacharach. The band loves to set the scene with candelabras and roses. And the poet's rendition is accompanied by a relatively complex assortment of instrumentation, including guitar, keyboard, bass, and drums.
Full use is made of the instruments to frame and enhance the reading of the poetry, adding emotion to the words that would otherwise be much harder to find. The audiobook is very professionally produced, and will certainly fill any angst-ridden night with deeper understanding, or at least a little compassion. It's well worth a listen. Dommin has captured a reading on YouTube, which we present below; and you can listen to more selections from their audiobook at their myspace page.
Do you have a comment? Log in or Register ; registration is quick, painless, free, and spam-free unless you ask for it. While the themes are overall pedestrian and the language commonplace, where Kristoff shines is his attention to the rhythm of the words; for instance, the first stanza of "My Heart, Your Hands": I can feel the knife carving Your love in my heart You promised you wouldn't harm a hair On this fragile body, no, that's not fair But how can I trust you?
How can I trust you? Yeah, do you know it yet?
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