Just a Techno-cality : Though Signed as an Electronica Band--and Using Sophisticated Equipment--GLU Argues Against the Tag

The recent mainstream exposure of the techno-based duo God Lives Underwater isn’t without its irony.

GLU was one of the first acts signed to 1500 Records, a recent venture of A&M; Records designed to bring the electronica movement into the pop mainstream. So the label execs are no doubt thrilled that the group has surfaced on MTV and modern-rock radio, where its new single, “From Your Mouth,” is in regular rotation.

But GLU refuses to call itself an electronica band.

Despite using an assortment of high-tech gear--including synths, samplers and sequencers--David Reilly, singer keyboardist and guitarist, argues it’s a mistake to categorize the band with the likes of the Chemical Brothers and Crystal Method.

“We don’t acknowledge the word ‘electronica’ because it’s just a media ploy. . . . I consider [this group] to be a rock band,” he said in a phone interview last week before a warmup gig in Norwalk, Conn. GLU kicks off a national tour tonight at the Galaxy Concert Theatre in Santa Ana.

“We’re not really a part of that [electronica] scene,” Reilly said about himself and keyboardist-guitarist Jeff Turzo. “Many of those bands are from that ‘DJ’ culture, where the sound is very mechanized and no one likes anything organic or that uses vocals. Our music is song-oriented and sounds more like pop-rock, only built up with elements of newer music that incorporates the latest technology. We just use the same tools as techno bands.”

GLU originally signed with American Recordings, where they released a self-titled EP in 1995 and the full-length “Empty” a year later. Unhappy with the lack of promotion at the financially troubled American, the duo switched labels and saw the release last month of “Life in the So-Called Space Age,” which stylistically falls closer to rock groups such as Pink Floyd and Depeche Mode than the electronic-minded Prodigy.

With an emphasis on songwriting and musical variety, the new album focuses on abstract, dark themes of longing, betrayal and paranoia. The music ranges from dense, industrial soundscapes to lighter, catchy, melody-driven rock.

In any style, Reilly said, what matters is crafting memorable songs.

“What constitutes a good number is debatable because everyone has their own standards. Personally, I like songs with a verse, chorus, a good melody and vocals using words you can relate to--much like a Beatles, [David] Bowie or Depeche Mode song.”

GLU’s visceral side, however, recalls the ambient textures of Nine Inch Nails. Its use of computer-generated sounds creates a wall of noise that ranges from droning and moody to scratchy and pulsating. At its best, as in the atmospheric “Medicated to the One I Love,” the music sucks the listener in with its cool, hypnotic techno-beats and rhythms.

“When we write a song, there are certain ingredients we always include to varying degrees,” said Reilly, who shares composing duties with Turzo.

“We’ll do a lot of filter-sweeping or phasing, which creates that swooshing--or airplane-taking-off--kind of sound. We also do this thing called ‘automuting’ or ‘transforming,’ where you automate a channel in a mixer to turn off and on. It’s cool because even though there’s a constant signal going through [the mixer], you can program segments of silence, which adds another unusual dimension.”

Because techno bands rely so heavily on gadgetry and effects, translating their recorded work into a compelling live experience is always difficult. Reilly said it’s a challenge he readily accepts.

“We don’t like to watch two guys twist knobs, and I’m sure the audience doesn’t either,” he said. “We’re going to have a light show, and the sequencing of the songs should flow smoothly, and really almost run together like a medley. I don’t like to talk too much to the crowd, though, because I’d rather let the music speak for itself. The music is pretty dark, so I’d like the mood to be kind of mystical.”

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Just be ready to rock a bit too.

“On the new album, songs like ‘Rearrange’ and ‘The Rush Is Loud’ are keyboard-heavy and don’t have any guitar parts,” Reilly said. “But live, it’s a pretty heavy-sounding guitar frenzy. I’m not interested in replicating the album; . . . some change is refreshing and it really adds some energy too.”

Though electronica has been embraced in British dance halls, it has yet to emerge from the underground in the United States. Reilly blames the bands and the public for the lukewarm reception.

“When the electric guitar was born, people said, ‘How can you listen to that loud rock ‘n’ roll?’ Now there are people who like it, but they won’t listen to any keyboard or synth music. Man, keyboard and sampling is so essential to music right now. . . . I just don’t understand why people would have a problem with it.

“But unless these electronica bands start writing some decent songs, I don’t know if the music will ever get any bigger. . . . Too many of them just make ‘blips’ and ‘bleeps’ and then call themselves musicians. I mean, how long can people dance to this monotonous techno-drivel?”

* God Lives Underwater, Fluorescein and Pinchpoint perform tonight at the Galaxy Concert Theatre, 3503 S. Harbor Blvd., Santa Ana. 8 p.m. $12.50-$14.50 (714) 957-0600.