Live show reports / comments

Started by FreakAnimalFinland, July 25, 2011, 09:35:36 AM

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MT

#390
Quick thoughts from train ride back home.

Last time I saw Pseudokommando, was in Oulu. The live side of the project was still in developing phase, rough around edges and clearly still looking for it's final form. And now it has been found. Very dynamic sound control with not blasting at full volume, but keeping it loud enough to feel like a gig, much easier to work with many elements when there's room in the sounscape. Back tapes, WASP synth, contac miced sheet of very nicely resonating metal. Also played with good touch. In my opinion the most important part of scrap metal is of course the metal itself, it doesn't really matter what pedals you use, and most of often less is more. Last time vocals had very twisting effect, this time they came though clean and worked much better. More power to them and you could hear lyrics very well. The end was especially great, somber sample playing and crushing sound of the metal sheet being punched, worked so well for me. Pseudokommando has take leaps forward, now the debut tape please!

Seen quite a few Vigilantism gigs, but this was one was easily the best. Everything worked in balance, everything was in control. Tasty synth sounds after another, with very as classic as it gets background with with school shooter etc. I personally don't mind using "classic tropes" of the genre when the gig is musically very good and convincing. And it was, vocals that usually have been so and so were excellent, just the right amount of wobble to make it sound inhuman enough. This night was off to a great start, with two first acts clearly delivering their very best.


It has been a while since I've seen KSNK live in public. My head wants to say 10 years ago. Table had many sorts of gear, old tape radio being to focal point, besides the stoic face of the man. Sitting behind his gear, mostly letting the sound do it's work. Gig started with such sudden blast that I wept for the PA and it made the italians literally jump in the air. Gig revolved aroubd Murska material, background video had stones getting pulverized, lots of hazy lo-fi footage of insides of a factory. The stone noise avalanche took some turns and twists, some confusion with gear not working as intended and then crushing roar vanished. Very good +20 min shake up!

Grunt & Bizarre Uproar collaboration CD left me a bit cold, it was not what I had in mind but also being interesting at the same time. This gig on other was exactly what I was expecting/hoping for. Best of both worlds, shrieking and shredding sound of scrap metal abuse accompanied with synth sounds bringing dynamics to it, vocals that both have best in the game. It was kind of interesting also to see BU do vocals through the "Grunt vocal sound". Both guys clad in leather and latex, uniform look with leather trench coats and latex masks. It was sort of a collaboration that makes a lot sense, but also now the time was right for it. 30 years after their first split releases. Both at the very peak of their creative output, skill and vision to execute the mix of complex sounds and make it work so effectively. My favorite moment was the duo vocal moment, with BU doing the manifesting, then handing the mic to Grunt direction who shouted couple lines before BU going back at it. Power electronics ecstacy.

Sutcliffe No More, relentless, loud, in your face. Mic cables explode when these veterans trample the stage. Launching track after track, spicing them up with frantic synth + kaosspad (?) work. What made SNM so powerful to me is the sheer quality of the sound, backtracks come with such force it is like getting hit with a shovel to your face over and over. And if you wanna talk about stage charisma, look no further. It is different type of presence than GO for example. It's the face of contempt, face losing your mind. Accompanied by vocals which I am extremely fond of. You can never get tired to listen to these two lads telling "a couple of things" with snarly, vicious, despising tones. Last quarter of the set I am a little so and so about. An hour is hard to fill with such intense music without wearing out the listener, especially when the onslaught of first half was so intense. Respect to the guys for coming and finish the job, and the job was done with excellence.

Obedient2

Thanks for the report, sounds like a great show. Would love to see footage or hear a recording of the Grunt/BU set if it exists.

Manhog_84

I heard someone flew from the U.S. just for this show and went back the next day! The events organized by Harsh Ways Syndicate are of course worth travelling from far, because there hardly exists anything similar in vibe and quality of performances anywhere else.

UnsophisticatedSorehead

I recently saw a couple of heavy-hitters live, namely Sigillum S, Merzbow and The Rita, and wanted to share a few thoughts.

Sigillum S (and The Sodality) are huge influences on my own work so this was a massive experience for me personally. Paolo, Eraldo and a younger musician they had invited to support them each played individual sets before performing Bardo Thos-Grol in full. Truly transcendental.

Next was meeting the great Rodolfo at OEC, picking up some merch and then following that up with sets from Merzbow, Bad Sector and The Rita.

The Rita performed with The Gloria. It was a relatively short set, with The Gloria making her appearance shortly after things kicked off. Short but sweet. The Rita delivered his usual HNW fare, starting with some quieter aquatic moments - droplets of water through distortion, perhaps? - along with samples of shark attack reports before kicking into high gear. The Gloria was great as well. There was a strange sort of discomfort in the room when she walked in... the audience had this kind of deer in the headlights look... especially when she was trying to make space for herself at the front.

Bad Sector was interesting though not really my cup of tea. The set leaned more towards IDM but he did some nice noisy, ambient-adjacent material towards the end that I enjoyed quite a bit.

Merzbow was the main course for me. Truly unrelenting noise for what must have been close to an hour. I didn't mind the AI-generated visuals nearly as much as I thought I would hahaha. It was just harsh texture and abrasive sound piled upon abrasive sound without end. I might have gone into a trance, as did another bald old-timer standing near the front.

I also didn't expect the place to be packed to the gills but when chatting with Rodolfo he told me that is typical for noise shows in Italy. He was 100% right... loads of people showed up and bought tickets at the door.

Obedient2

Saw Merzbow in London this week. No visuals (apparently they weren't working?) and the set was amazing. It sounded so "alive" and constantly shifting but never busy. I was surprised by some almost rhythmic parts. The hour flew by. Can't say that for many noise artists. A true master.

host body

#395
Sewer Election yesterday, excellent. 100k Vilho & Vanhala new project was a huge surprise and very interesting sounds. Manööverit was good with some fun live shenanigans, live looping with tape loops etc. Thomas Ankersmit was professional level Serge precision. Great, great show.

I think I got one of two CD's Sewer Election had for sale, hah.

k.p.g

Last night, the Spice Channel June programming came to Philadlephia.  It was a more intimate show in terms of crowd turnout, but I just say that a lot of people missed out on a great show on that note.

Sarah Luttrell started things off with a set of muttered voices and deep, upright bass drone.  While the pacing was more jagged than one would expect from a drone-oriented noise set, I think ideas presented were very good.  One thing to note from both her and the next performer is their willingness to talk to the audience directly during a set.  It's not something that often occurs within noise sets as we know them, and has a vulnerability that I don't think many "serious," agro guys would do as much.  A quiet start to the evening; solid set.

Sarah Gold set was next.  Not much amplification here, as it was mostly a small organ, percussion and a small Roland amp with tape amplifying things.  Since there is one more show in Providence tonight, I mustn't spoil how the end of this set goes.  All I will say is... noise should push your boundaries and comfort, and this certainly did that!!!  Hah.

TS set was absolutely superb.  A great combo of introspective new age passages, harsh stabs and broken realities cascading onto one another.  Those who liked the CD that came out last year on Spice Channel would enjoy this set a great deal.  Listening to the nature heaves a sigh at her dismemberment into individuals tape as I type this, and a lot of similar movements pop up here.  Loved this one.

Inarticulate followed up a superb set with a fantastic display of fried electronics and destructive guitar noise that had two members of the audience break out into a brawl by the end.  The gallery space this show was at was not prepared for such carnage, and yet it felt all too appropriate!  We are seeing an artist truly come into their own with sets like this.

Slow Tongued Beauty closed out the gig with a very intense set.  A good use of mounting synth tension and microphone feedback easily made this the best set I had seen from the project.

Overall a great night of fun.  Hopefully future programmings will come from this label, as I believe what Ted is putting together is a vision that not many others in the scene can lay a claim to.
Dead Door Unit
French Market Press
etc.

urall

Quote from: UnsophisticatedSorehead on June 06, 2026, 06:13:43 PMI recently saw a couple of heavy-hitters live, namely Sigillum S, Merzbow and The Rita, and wanted to share a few thoughts.

Sigillum S (and The Sodality) are huge influences on my own work so this was a massive experience for me personally. Paolo, Eraldo and a younger musician they had invited to support them each played individual sets before performing Bardo Thos-Grol in full. Truly transcendental.

The 'younger musician' is Bruno Dorella (OVO, etc...).

k.p.g

Was met with a surprise text from my boss last night asking if I wanted to see J.G. Thirlwell at PhilaMOCA last night; tickets, drinks and dinner all on him.  Not too familiar with the work extending beyond Foetus, but fuck it.  Why not!  That's just an evening you can't refuse.  Parked my car, had a burrito and sat down for the show.
This particular show was just Thirlwell, no opener.  The performance lasted about 50 minutes, with accompanying visuals to go with it.  While it seems like Thirlwell had an idea of where to take things (composition), the sound palette he chose to use was certainly noisy.  Lots of random-cut ups, tape loops and stabs of white noise punctuated the quadrophonic speaker set-up.  There were moments of "beats" or "epic synths" being brought in, but that is almost to be expected from the older guard of industrial at this point.  Didn't detract from the overall performance.
Walked away from this one pleasantly surprised with how much the man's still got it.  It's giving me the knack to check out some Foetus again.
Dead Door Unit
French Market Press
etc.

moozz

Gray Ritual 5, Helsinki, 30 July 2026

The fest was plagued with misfortune long before it even started. The venue had to be changed twice and there were some artist cancellations as well. Replacements and a new location (new for everyone I'm quite certain) were confirmed and the event started like none of that ever even happened. Arriving at the venue I was surprised to see so many new faces but I soon learned the local drunks were using the little yard as their summer hangout. I then recognized the usual noise drunks. There were maybe 30 people there (including the artists) which was a good amount for the small intimate setting.

First artist was Aksinnäm from Sweden. Junk metal, electronics and an electric cello (or some similar bowed instrument). Atmospheric and at times noisy but the gig seemed to suffer from gear issues. I have a feeling it was supposed to be more varied but now ended up being a bit dull.

Next one was Oskari Karjalainen of Finno-Ugrian Suicide Hypothesis. The main attraction was a huge kantele (multi-stringed tabletop instrument) producing soothing, almost cinematic, sounds. This was contradicted by some pieces of metal generating a super tasty crunchy tone. Unfortunately after a short while the crunchy noise disappeared and the artist could not bring it back regardless of all his efforts. Growing frustrated he soon picked up the kantele and tossed it aside. That was the end of his set.

Birthdeath (Swede #2 of the evening) was next with his noisy crunchy power electronics. Shouted vocals on top of a chaotic mix of blown out samples and tasty jumpy tones. This hectic chaos was fantastic and I could have listened to just that for much longer. The most chaotic elements drifted in and out guaranteeing an interesting set.

Foreigner assault continued with Sexualised Medicine. Masked hooligan electronics from the UK. He played in front of the row of gear tables having more presence in the audience. And the crowd indeed started getting more pushy/moshy during his set. High energy agitating power electronics with almost physically crunchy noise.

The evening continued with the Italian butt pervert Fecalove. Playing Italian language speech samples from tapes with high feedback and crumbling noise from contact mic'd metal chains fed through multiple Death Metal pedals. The content of the Italian samples remains a mystery but I think I heard 'corpo nuda' so I can only guess. The performance included the artist foaming at the mouth (spoiler: it was beer), smearing it all over his face, walking around the audience with one hand in his pants, and spitting beer. Ending with vocals and delicious noise. Excellent.

Last one was a total mystery artist to everyone, Hans Moleman. I know Hans Moleman as the thick-spectacled miserable character from The Simpsons but there was nothing miserable about this one. It was the exact opposite, a joyous celebration of the artform we love and know as experimental noise! Delivered by none other than the Gibby Haynes of the Finnish noise scene, mr Amek-Maj! Piano samples, epileptic noise bursts, the wildest moves of the evening (this time without dislocated shoulders). It sounded a lot like Amek-Maj but concentrating more on the weirdness and the non-harsh parts. The crowd was going wild as well, several people engaging with the artist pushing the gear table back and forth, and fighting for the tiny desk lamp there to illuminate the gear. It all ended in an orgastic collapse with the artist AND the crowd worn out from giving their everything.

A great ending for a great evening. I mentioned above several times that the sound was juicy/crunchy/delicious so I guess the PA really was perfect for that setting. Or all artists just happened to produce sounds I enjoy. Maybe a mix of both. A fairly small room, windows covered to keep the sun out, windows closed to keep the sound in which made the space hot and sweaty. Now trying to chill and just breathe for a few hours before it is time for day one of Harsh Ways fest. Heja Finland!

k.p.g

Tonight was a short night for shows, as I walked into the thick of South Philadelphia to catch Crazy Doberman alum Drew Davis.  Good dinner beforehand; couple drinks to boot.  Show was opened with a poetry reading, so not much to say there.  I really came for some acoustic scrap weirdness. 
Drew's set certainly delivered on that end, but in the quietest way possible.  Various cranks and horns were sounded off in hushed bursts, barely reaching to an audible pitch that rivaled the air conditioner during the set.  Despite this, the sound palette could be quite harsh, with certain filters making Drew's horns sound closer to mixer feedback or rumbling, PE synth. 
Overall, a very enjoyable set that showed off that at its most powerful, free-improv/acoustic sound can rival even the shrillest of noise sets.
Dead Door Unit
French Market Press
etc.

k.p.g

Yesterday, had a show to host at the house; very busy weekend on the show front!!  I have come to love hosting such events, as they are quite an intimate affair, sort of "invite-only," ala RRR apartment show you have read about before.  Not much ego, some last second sets and everyone rips out of practice amps.  This particular one served as a chance to host the NJMA collective on tour.

First group to kick it off for this show was Chloroform Gay Sex Fantasies, who were the main artist on the tour.  This duo ripped a raw and static brand of noisecore that effortlessly danced into lines of power electronics.  Some moments reminded me of early Taint, others were just raw, blasting fun.  Ending with a surprise cover (done intentionally bad, I believe) of "DMV" by Primus got a great laugh out of me.  Awesome!

Second was Diseased Cunt, who continued the P.E. trend with a very dark and no-nonsense performance.  Vocals barely made it above a whisper.  Synth work was very entertaining, and had some pleasant start-stop moments that I don't think were intentional, but absolutely provided some much needed relief and variation in the overall performance.  Look forward to hopefully seeing more from this project.  Filthy name, filthy noise.

Last Day with My Garbage would take audiences from the living to the basement for a continuation of filthy noise.  When we had met earlier in the day, the plan was to originally do guitar noise based set.  Plans sort of changed, and it ended up being bass guitar, microphone, custom noise synth, call-in assistance by Mallard Theory and a little bit of snare drum towards the end.  The lines between shitnoise and power electronics were carelessly thrown around in the most loving way possible.  Audience seemed to like, as did we!

Legless would be the first of 2 unplanned sets for the day.  I had ended up with Danny's gear the last time we played together, so the opportunity for him to play was there for the taking.  And what full advantage he took of it!  Nasty mix of synths, microphone hiss and basement shit gutter sounds were blasted upon the audience blissfully.  Out of a practice amp is really the best way to experience this project, as it seems that is where artist is most comfortable.  Audience erupted in applause; well-deserved!

Cheeseburger in Paradise was a cascade of dreamy tape mangling and static blasting.  Audience was given occasional moments of feedback screech torture.  Boldest move was using a shaker box with absolutely nothing but the mixer gain to distort.  Wow!  I don't think I could stand having the sound of the ball bearings in such a thing rattling around, but he rocked it.  Some may compare what he does to material you would hear from the Tribe Tapes label.  I saw some sort of cassette passed around of the material after the show, which was described as "guitar jams and dreamy sounds."  Very curious to hear how much it'll differ from this great debut set!

Final set was provided by a new Philadelphia project called Fatherless, who also is responsible for the Canker Sore project that was previously released on the last live series of tapes that were done on French Market Press.  Whereas that project relied on heavy manipulation of pre-recorded sounds, Fatherless would make use of screams that were sampled in the moment, along with some distorted vocals.  For a last-minute, debut set, this one was very promising for what's to come!  Fit into the overall tone of the show, but I can imagine that with the drive this person has, it could end up becoming its very own, unique project in due time.

And as the last sound faded out, the crowd was left exhausted but enthralled with the day that had just taken place.  Friends supporting friends, trading tapes, making ugly sounds... very few feelings can compare to the day we had!  I just wish I had slept better afterwards.... 
Dead Door Unit
French Market Press
etc.