Ha! I remember much of the same at That Other Place. The visuals in this are inspired to the point of mental. Because it's all controlled by Underworld. Underworld's larger than itself -- it has a visual-arts arm, called Tomato, which integrates a specific textual and geometrical aesthetic into a multisensory and intertextual experience. They excel at projecting individual words from the lyrics at syncopated juxtaposition to the performance (rather a postmodern rendering of Dylan's "Subterranean Homesick Blues") so that the individual selected words form their own counter-poem to the song (much in the way Derrida has two texts working in books like "Cinders" and "The Postcard.") They play with slippage of meaning. During "Rez/Cowgirl," for example, "an eraser of love" becomes "any razor of love" becomes "an erazor of love" becomes "any reason at all" then "reason" becomes "raison" becomes "raisin". All flicking so quickly your mind interprets all of them simultaneously. You might think this is all parlour-trickery but I've been thinking about writing a serious piece on them for a long time. Now that I've started a major project, they will factor in quite importantly.