Normally when we think of pop groups the configuration that usually comes to mind is anywhere between three and five people playing on a variation of drums, keyboards, guitar, and bass with either a separate vocalist or one of the instrument players taking that duty as well. There have been exceptions to that with bands that had extended line-ups such as Lighthouse, Chicago, and Blood, Sweat, & Tears.

In the past it was very rare to find pop groups fewer than three members, aside from folk duos. With the advent of technology that allows for the pre-recording of a variety of instrumental tracks, the potential now exists for even one person to climb on stage and create enough sound that he or she could do a performance. Still, there are very few pop groups that have taken this approach. (One that springs to mind readily was Orchestral Manoeuvres In The Dark, a mid 80s electro-pop duo)

So I when I heard that the band Ghostland Observatory was made up of two people I was intrigued enough to check out their DVD release on New West Records, Ghostland Observatory - Live From Austin Tx., part of a series taken from concerts given on the television show Austin City Limits

If you're at all familiar with the show Austin City Limits you'll know that saying their usual offerings are country influenced, is like saying Johnny Cash had a fondness for black clothing. While they may have had Stevie Ray Vaughn and even ZZ Top on the show in the past, Merle Haggard, and Willy Nelson are more what the average Austin City demographic would be expecting when they tuned in.

I wonder if they put disclaimers in their advertising for the show on which Ghostland Observatory appeared. Something along the lines of not being responsible for any heart failure or strokes that the evening's content may cause. The first clue that someone tuning in that night would have that something might not be quite right is when singer/guitar player Aaron Behrens was followed onto stage by the silver cape wearing, drummer/keyboardist/producer Thomas Turner. Perhaps it would be they would notice a distressing lack of Stetson's in the studio audience and how young everybody looked.

If they acted fast enough they could have still turned off their televisions at that point and escaped relatively unscathed. If not they would soon realize that this was not going to be your typical night on Austin City Limits. It's difficult to describe what Ghostland Observatory does, but they definitely have nothing in common with the Country, Country Rock, or even the Southern Rock or Texas Blues that have been broadcast in the past.

Try to imagine a tall guy wearing a long silver cape with a high collar bending over a keyboard and half hidden behind stacks of processors and effects boxes. Stroking a key here, twisting a knob there, he first generates the throbbing pulse so familiar to dance hall habitués. Then, with an adjustment and a tweak it veers more towards punk/funk. Finally, he's hunched over the keyboards churning out the melody for the first song.

While Thomas is setting the controls and preparing for launch, Aaron is beginning to stalk the stage. As the music defines itself his movements begin to synchronize with the beat from the speakers until he is in full flow. With a fluidity that is reminiscent of martial arts and jazz dance, he builds his movements to match the increase in the density of the music. By the time Thomas has seated himself at the keyboard, Aaron is in full flight and ready to sing.