The super black contract killer comedy genre is a thing, but it hasn’t been crossed with the desperate vanity of the art world before “The Kill Room.” Imagine the swingle singers with a body count as splashed on multiple canvases and you’ll get an inkling of the cleverly creative approach by the team of Jason Soudah and Jessica Rose Weiss. There’s that funkily rocking, self-aware super cool approach to the literal bagman. Here that creepily sleek sound plays the guilt of sorts that drives a very reluctant new artist in a money laundering scheme that takes off to the criminals’ aghast intent and a gallery owner’s delight, creating an often eerily menacing score that isn’t quite going to let the audience off the hook no matter how quirky it gets. But the shade that really ups the ante here is the bouncy, deceptively breezy of use of vocalese and percussion that creates catchy, thematically ironic caper music that is a work of subversive, high indie scoring art whose music definitely deserves the light of a release.

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