WAMC Performing Arts Studio
News and Reviews
| Rasputina rocks with a wild cello By DAVID MALACHOWSKI, Special to the Times Union (First published in the Times Union of Albany, NY: Sunday, July 18, 2006) In a welcome departure from its slightly more conservative fare, WAMC welcomed the untamed cello ensemble Rasputina to its stage for a notably louder and, at times, unpredictable show. Most often, the cello (and other orchestral instruments) and somewhat formal dress go together. Not so with wild and woolly Rasputina. Or maybe it's just the definition of formal. Cellist Melora Creager's lacy and laced vintage Victorian costumes and headgear are dressy, and maybe a century ago formal, but it's the crazy hair and inherent rock attitude that send it flying in another direction. The Brooklyn-based band can best be described as a gothic-chamber-rock hybrid; core members include first chair cellist Creager, drummer Jonathon S. TeBeest and an ever-changing cast of female cellists, on this tour the talented Sarah Bowman (of the Bowmans) filled the slot. Creager -- who backed Nirvana on its final tour -- formed the band in 1992, landed them on Columbia, and even had fan Marilyn Manson do some remixes. In Albany, Rasputina not surprisingly found a full house of like-minded, colorfully dressed folk, and offered tunes that told a tale via a somewhat perplexed perspective on the universe. The tunes themselves were aggressive, spinning and weaving; complex cello lines married to airy science fiction lyrics, played with a physical urgency. From "Things I Used To Do," "1816," "Draconian Crackdown," "High On Life" to "We Stay Behind," each had moments of brilliance. The cellos were often pure, deep and meaty, but now and then a distortion tone ruled. At one point, there was even a brief appearance by a metallic-sounding dulcimer. Bits of dialogue (often faux news breaks) were followed by stop-and-start, crash and bang tunes. In many ways it was as much theater as a rock show. Space was used as a weapon; a vocal or deep cello phrase was time and again followed by dramatic, assaulting silence. The drums were dished out in small increments, sometimes-marching band rudiments, other times huge Bonham-esque backbeats. "This is the closing number of our recital," said Creager "it's in F major" as she slammed into "Choose Me For Champion," and encore "Barracuda." The crowd went nuts. Creager is a force to be reckoned with, her technique is flawless, but it's the reckless abandon in her attack of the instrument that is her real talent. In a world of non-conformists that all look alike, Rasputina is a refreshing breath of fresh air and sinister sonic waves. Don't miss them next time through. David Malachowski is a local freelance writer from Woodstock and a regular contributor to the Times Union. Back to News and Reviews |
| Used with permission of the Times Union of Albany, NY. Re-use rights may not be assigned to a third party without prior written permission from the Times Union. |