After only seven months, the Berlin-via-Paris threesome of AdrienWalter, Mohini Geisweller, and Juste Faileux have managed to create abarrage of press in Europe's fashion and music industry. Following therelease of their first two 12"s, "Berlin Rocks" and "EverybodyDeservers To Be Fucked" (both of which are included here on theirself-titled full-length), Sex in Dallas managed to snag an exhibitionat the venerable Parisian design store and boutique Colette and werehailed as the next new thing in magazines from Technikart to Fashion Wired Daily.With most of this exposure due to their fashion sense and penchant forbinge-drinking and clubbing, I couldn't help but ask myself where theirmusic falls into play in all of this. With the release of their firstalbum, the group seems to demonstrate that their main priorities arefashion and image before music, though there are signs that point to agifted young band that shows promise. The first track, "Crazy Dogs,"lays samples of barking dogs over a spare electro backbeat. When thesynths enter at the one minute mark, it's easy to see the comparisonsthat Sex in Dallas receives with the Hacker and other big names inEuropean electro. "Songs of the Beach," "5 O'Clock," and "Lost in LaPlaya" are reminiscent of a more minimal Lali Puna, with Geiswellersinging in a soft, French-accented English. The standout track on thealbum, however, is "Everybody Deserves to Be Fucked," a four minuteelectro romp espousing the band's view on hedonistic equality. WhileSex in Dallas may be a band hyped for their image more than theirmusic, the indications are there that with a bit more maturity and timethey may emerge as major players on the European electro scene.Read More
