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Creating unity out of chaos, and turning fear and loathing into high fashion, Skulpture is band that you can see coming at you from a mile away but somehow they still mow you down, leaving track marks on your face, with smoke and squiggly lines everywhere. I mean… when a band sets up two keyboard stations, one has certain expectations. But Skulpture’s fancy new wave affectations are more tribal than romantic. Melodically off kilter, mostly rhythmic in design, the two synths create a slant, sometimes goofy, framework for this ruff n tuff n tight post punk band to strut their stuff. Sporting a casual day suit, with pink Vans plus matching sunglasses and tie, Tom Rostamo fronts the band as if he was distraught tv news man off his meds, shouting and ranting at the viewers on the “Live at Five News.” Dutifully, but manically keeping the audience entertained and informed as the walls close in. With lyrics that are both pointlessly pop and utterly important, one cannot help but be alarmed and disarmed. Musically the band focuses on melody with a healthy slice of dissonance, and surprise. Jagged soaring progressions and musical inventions are abound. With synth hooks filling out most of the songs structures, Scott Cooks guitar playing is allowed to go to places in between the rhythm and the solo. His guitar washes and shimmers, twanging atonal to the beat, Husker Du style while Dan Buettner’s bass bounces and bops a new wave rhythm that pushes these songs into a positive optimistic space, whether they deserve to be there or not. Erik Englund rock solid bombastic drumming provides all the space needed for these wack-a-doo arrangements to thrive, while keeping the band moving at their frantic and varied pace. With songs like Self Driving Car, Off the Gods, and Great Great Great, Skulpture reports on the most urgent state of affairs, which I’m sure will guarantee these guys top ratings, as long as the authorities stay locked out and/or the power doesn’t get shut off.