music: Add N to (X) fills The Starfish Room with more than just algebra
Keir Nicoll, Associate Staff Writer

Though both Radio Berlin and Add N to (X) certainly tug their black, Robert Smith-like forelocks to the 'Goth' epoch, comparisons to Echo & the Bunnymen, The Cure et al. seem to abound more in reference to the former performers. Vancouver's own Jack Duckworth, Chris Frey, Warren Hill, and Joshua Well do a fine job of crafting succinct, synthesiser-textured melancholia. Switching instruments and chords deftly during their performance, they provided an appropriate ground for the headliner figures to arise. As an anemic pundit noted, "they would have been huge if only they were playing in the '80s."

Much criticism circulates regarding this kind of referencing amongst those proceeding along the linear min-drought that don't like 'revisiting' the past. Unfortunately for them and intriguingly for those of us more comfortable with a postmodern, multi-chrono-lateral world of art, Radio Berlin clearly echo their predecessors. However, new wave or no wave, their songs are strong enough to escape relatively unscathed from criticism. A little more reverb on the vocals and they'd be good to go.

Then there was the main attraction. With the foundation laid by Radio Berlin, Add N to (X) dominated the stage in a flurry of electronic/synthesiser-fueled fun. The London trio - Ann Shenton, Barry 7, and Steve Claydon, accompanied by myriad percussionists and roadies - are a solid, sonic force and inaugurated merely four years ago.

Quirky like Mouse on Mars, but less electronic, and sounding at times like the Ventures surfing in electric chairs, Add N to (X) command attention when on stage. From the moment they entered the limelight, a litany of 'rock moments' ensued. From the band's cocksure (especially Shenton) stage personae, to various band members leaping offstage to jump an asinine 'fan' who was yanking their mic cords, to Shenton holding her the remin out over the crowd for its needy fingers to caress, they remained relentless for the performance's duration.

Even their cover of "I Wanna be Your Dog" rocked the house. At times it seemed inconceivable that a mosh pit wasn't generated, but then the recollection that Vancouverite scenesters lost the vestigial ability to dance with their sixth toe came crashing in.

There are few times when the remin (designed by Russian Lev Sergeivitch Termen) is brought successfully into the pop music fold. Shenton's fingers told another story, however, as she wielded the unusual, electric-field-activated remin instrument with unusual acumen.

It was clear from their performance why Add N to (X) have generated as much critical as popular acclaim for their abilities with electronic instrumentation and experimentation. Aside from the typically indolent spectators, this show exceeded expectations.

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