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Night has fallen and... you are in the United Kingdom outside a dreary, post-goth club. You take your drugs, either kiss or flip off the bouncer,
and saunter in past the punks, transvestites, and shitty-looking freaks towards your favorite purgatory: the dance floor. Alone and
high, you are now most likely allowing the music to inform you about your personality, your friends, your lovers,
your fashion, and your life. And you will dance to it... oh yes, you will dance because you willingly give yourself over to the raw synth symphony
of dead-pop as conceived by the Primadonnas.
  above: Otto Matik 'scroons' (screams/croons) to the audience at Saturday night's performance in Austin Three men, Otto Matik, Julius Seizure, and Nikki Holiday, formed the Primadonnas in the Fall of 1995 as an artistic departure from ancient-80's British club synthesizer music as defined by Yaz, Erasure, Depeche Mode and a rock influence from Bikini Kill, the Who and the Rolling Stones. All elements of their effort confirm a respect and distinct challenge for the weak that believe simple dance music saturated with emotion and drama is near death. The genre is most certainly alive and dreary as ever since the threesome began writing songs such as "Hong Kong Boogie", "Fall Fashion", and "6 Years (Doing Time in a Night Club)". The Primadonnas notoriously deny Austin clubs an appearance by reserving their performances for parties that attract the local garage music scene. Why would a "dance" band shun the logical venue for their work? There is no reason. Unlike the worst of dance club college freshman nights, a unique and regular audience seek out the shows and participate in the chanting choruses of a Primadonnas set. The three "British" (oops, I mean "U.K.") expatriates are not interested in the spectacle of dance. Without a doubt they are the spectacle with their trademark black mop-tops, black fingernails, and uniform apparel. The crowd routinely anticipates the trio's gimmicks of fashion and celebrates them with relish and mustard.
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