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Going Back in Time with the Faint

December 10th, 2012

The Faint – Terminal 5 – December 7, 2012


Back in 2001 when Omaha, Neb., band the Faint toured behind Danse Macabre, their unique homage to the dark, synth-laden dance music of the ’80s, they performed as if even the most modest of venues were multilevel clubs—throwing their bodies around, bouncing their energy off the ceilings and achieving some of the sweatiest of dance parties. More than 10 years later, having recently reissued a deluxe version of Danse Macabre, the Faint performed the album in its entirety at Terminal 5 on Friday night, complete with the dazzling lights, visuals and sound system their music was always meant for.

Fortunately, time has been kind to the band. Despite the passing of years, they still have their hair and their slick dance moves—and judging from the crowd, a whole generation of new fans. Beneath dizzying strobe lights, the band opened the show with “An Unseen Hand,” a new song that maintains their classic musical reference points and dark themes along with a slight influence from current electronic dance music. After the crowd was warmed up with a selection of songs from more recent albums, the opening bars of Danse Macabre’s “Agenda Suicide” signaled that we had officially begun our descent back to 2001. The band proceeded to burn through favorites like “Glass Danse,” “Your Retro Career Melted” and “Posed to Death,” as the crowd danced along with unceasing abandon. Danse Macabre’s final song, the slow and moody “Ballad of a Paralysed Citizen,” seemed to offer the crowd a respite from dance and a chance to breathlessly Instagram their neon-light laden photos of the band.

The Faint closed out the show by dipping even deeper into their catalog with “Worked Up So Sexual” and “Call Call” (“This one’s from the ’90s!” singer Todd Fink announced with a hint of amazement). Judging by the extreme pleasure the Faint brought to the crowd by revisiting their early material, the band’s longtime devotion to delivering an epic show, no matter what the setting, continues to pay off. —Alena Kastin

Photos courtesy of Greg Notch | notch.org