Powerman 5000 – Backstage and Beyond the Infinite DVD Review

Powerman 5000 - Backstage and Beyond the Infinite

Powerman 5000 - Backstage and Beyond the Infinite

I advise that you don’t buy Powerman 5000’s Backstage and Beyond the Infinite home video from 2001. Like all home videos from this era, you’ll get a short, unrewarding experience that is largely irrelevant nowadays due to the invention of Myspace, Youtube and Wikipedia.
What you get in the main feature is one hour of music videos, embarrassing fans and childish jokes badly edited together, with no narrative and offering little in the way of information or content that the band don’t already give out for free.
The areas of interest are a Live version of `Car Crash,’ from 1999 and a Live version of `Automatic,’ from 2000, although the latter features very poor sound and video quality, there is also an even worse quality one-and-a-bit-minute cover of Radiohead’s `Creep,’ which is entirely shot through a fish eyed lens and features bootleg quality sound.
The best thing on the entire DVD is a montage of live footage set to a recording of `They Know Who You Are,’ which is music video quality; but understand, if this is the highlight, then the DVD is not really worth watching.
Although the video does feature some early footage of the band in the final chapter `The Long Strange Journey,’ it is more or less a missed opportunity, this footage could have been woven into an interesting history of the band documentary with a few cheap interviews and some minor narration, but instead it is just quickly cut between with a robot voice stating which year each clip is from, and then the film ends with some footage of the band and the fans without really having achieved anything except existing.
The bonus features are a short four minute behind the Videos segment, with no interviews or narration, the music videos again which were already in the main feature, the Tonight the fans revolt sections which were already in the main feature, weblinks for viewer who have never heard of search engines and a poorly designed biography and discography section, which is redundant considering a better designed band history booklet is given away inside the DVD case.
To summarise, in the modern day and age, Backstage And Beyond The Infinite is not worth your money, not as a fan of the band, not for early 2000s nostalgia. If you’ve seen Fear Factory’s `Digital Connectivity,’ or Slipknot’s `Welcome To Our Neighborhood,’ you’ll have a rough idea of what to expect, except more childish and less informative.

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