This guy loved them as much as he hated Wolfmother a couple of weeks ago.
DeVotchKa
DeVotchKa used to describe its sound as "Eastern bloc indie rock," but happily, the Denver quartet proved much more than reheated Balkan reels and Pavement-style dynamics during its sumptuous set Wednesday night at Falls Church's State Theatre. The group played with a passion and instrumental prowess that were thoroughly invigorating.
In truth, any label sells DeVotchKa short. Drummer Shawn King did thump with post-punk drive and was often surrounded by a lineup of sousaphone, violin and bouzouki. Singer Nick Urata played the latter as well as acoustic and electric guitars, but it was his singing -- an upper-register melange of Roy Orbison, Jerry Vale and Bryan Ferry -- and his stage persona -- drunken groomsman crossed with Dean Stockwell in "Blue Velvet" -- that created DeVotchKa's indefinable vortex. The violin (and accordion) of Tom Hagerman provided the melodic zest in songs such as "Queen of the Surface Streets" and "We're Leaving," but it was the cohesive sweep and instrumental interplay that turned them from pleasant to crowd-roiling.
So Gypsy reels, violent violin scrapes and bowed upright bass were injected into the Velvet Underground's "Venus in Furs," Siouxsie and the Banshees' "The Last Beat of My Heart" and a tingling remake of Frank and Nancy Sinatra's chestnut "Somethin' Stupid."
But originals such as "How It Ends" were the most thrilling: a sense of epic drama swept away with expertly played, otherworldly drive. Urata's stylized vocals were simply a kiss on the forehead of a startlingly entertaining performance.
-- Patrick Foster