Live show reports / comments

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

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Ashley Choke

Quote from: Si Clark on October 04, 2011, 12:07:52 AM
grabbed some guy from the front row and made him drop his trousers and piss in a bag

BU is slowly turning into Rock Bitch, HAHA

Nyodene D

Quote from: AC on October 06, 2011, 11:23:50 AM
Quote from: Si Clark on October 04, 2011, 12:07:52 AM
grabbed some guy from the front row and made him drop his trousers and piss in a bag

BU is slowly turning into Rock Bitch, HAHA

hahaha, holy shit.

xdementia

Recent review from Suddan Infant/Keith Fullerton Whitman/Xiphoid Dementia/Einfgall/Ophibre show with video posted in the local paper:

QuoteFriday night saw a blowout bonanza of industrial noise, as Somerville's Starlab played host to SUDDEN INFANT, the long-running, highly-admired project of Joke Lanz, a Swiss national living in Berlin. Influenced by actionism, fluxus, and dada, Lanz' physical, bodily brand of noise and performance art is shot through with perverse humor and warped reflections on daily life.

A cadre of New England noisicians and sound artists opened up the proceedings, and the crowd's palpable enthusiasm for these local favorites charged the air with electrifying energy. OPHIBRE played first, inaugurating the evening with his glacial drones. XIPHOID DEMENTIA packed the basement and the treacherous flight of stairs down, forcing latecomers to peer over the staircase railing for a glimpse of the unfolding deathindustrial intensity.

Egan Budd, the man behind the alias Xiphoid Dementia, also booked and organized the show -– he takes much of the credit for the night's success. KEITH FULLERTON WHITMAN'S intricate, progressive soundscapes, informed by academic music as well as the outré side of so-called IDM, reverberated through the space, rattling the windows, and EINFGALL, a collaboration between A SNAKE IN THE GARDEN'S Matt Mayer and ZERFALLT'S Lee Tindall, pulled off the most impressive performance of the openers. The two conjured hateful, earsplitting squalls and squeals from contact mic'd sheets of corroded iron as onlookers grimaced at the pair's relentless intensity. I've seen Tindall play countless sets around Boston over the last five years, and this was, by far, his best that I've witnessed.

The man of the evening, the aptly-named Joke Lanz, then took the floor, nonchalantly surveying his mics and stripped-down setup. Cuing up some throbbing noise, Lanz opened with wordless howls and ululations, holding a contact mic against his throat and translating the vibration of his vocal cords into harsh sound. As the Sudden Infant set unfolded, Lanz introduced to the appreciative audience his conceptual concerns, demanding, "What do you know about the good father?" This rhetorical query centered the night's entertainment, as Lanz made his way through a set examining familial relations and a little boy in a wheelchair. Though not overtly perverse, his clipped singsong warble and caterwauling peals of laughter infused his peculiar lyrics with an atmosphere of the grotesque.

Modern noise is divided between earnest, obsessive efforts and overtly ludicrous provocation, with each camp sniping at the other from time to time. By presenting the family drama and psychosexual concerns that obsess modern PE practitioners through the lens of early industrial's surreal humor, Sudden Infant's set was at once archly serious and blackly comic, not to mention aurally blistering. Deftly managing his equipment, Lanz married excellent prerecorded material with live improvisation. Passages of agonizing restraint gave way to pulsating rhythms and sonic incisions, paired visually with Lanz' frenetic body movements. The crowd roared in approval at the conclusion of each song, and Lanz, won over, quipped "This is Boston, not LA! Oh my goodness!"

Prompted by the rabid enthusiasm, and a swig or two of Jim Beam provided by an onlooker, he even deigned to play an encore, a practice practically disowned by this music scene. Word has it Lanz told Budd this was the best crowd he encountered on his whole US tour.

We hear that a lot.

ARKHE

The Italians KAM HASSAH and Claudio Rocchetti visited Malmö on the 13th, Thursday I think, a small basement venue called Borgen (the castle). Haven't been there before, seems they are more into hosting freejazz/improv or more dance-based electronica events. Nice & cosey little room with couches & stuff, will probably return. Hadn't heard Rocchetti before, and only KH I'd heard was his side of the split with HEINZ HOPF. Which is really good, so I was looking forward to this. KAM HASSAH didn't disappoint, very simple set-up with backing tapes + sampler doing almost all the work; undistorted and filthy rumbling sounds, very open and porous, building up to some kind of climax which didn't arrive because the goddamn PA couldn't handle the bass frequencies so the sound turned into shit every time it peaked, and the organizer promplty had to go up to the mixer to softly turn it down just a little bit, very carefully, which meant that he stood precisely in front of me. No sound-check? Hrm. Anyway, I enjoyed the sounds. Claudio Rocchetti was next/last, using a bit more gear... couldn't get a good grip of the music. Constantly, erratically turning & twisting all the knobs and levers on his mixer + pedals, everything was just jumping around, and he didn't have any volume to speak of either, so it felt like he was just fucking around rather than actually playing. Also, he seemed to have a lot of problems with contacts and cables glitching, sounds disappearing and all, couldn't tell if that was part of the performance or accidents with malfunctioning equipment. Would probably have been better recorded, rather than seen. He managed to get some good, angry sounds towards the end, but then it just ended, so I don't know.

The problem was that that night, there were three concerts attracting mroe or less the same crowd: besides this, Miko Vainio of PANSONIC was supposed to do a show elsewhere (but he didn't show up), and the LEGENDARY PINK DOTS were also playing elsewhere. Including the dj, bartender, + performers, there were about 14-15 people at the venue, most of which seemed to be regulars + friends of the venue rather than crowds into the music. When KH played, I was the only one standing up within 2 metres from the "stage", and when Rocchetti played, I was joined by KH. Lazy bastards sitting in a couch or lying on the floor (!!!) in the back of the venue... Lack of crowd + sound problems made the event anti-climactic but at least it took place...

STREETMEAT


"preshow" before HNW fest.
-Glasgow Smile started the show (last minute add since r.s.p. was not able to make it) set started off with a sample of doctor talking to little girl then was made of hn coming from contact mics on a metal bowel and chains  as well as other effects to give off crumbling and decayed sound.shouted vocals here and there.good set from rising project.
http://youtu.be/1dlo7Lhrt3w

-Streetmeat, i started my set off with crackling i was getting from my keyboard then to some harsh and heavy noise focusing on the "cut up" style until i faded in a loop which was main focus. vocals with effects on the filthier side.touching & pulling audience. ending with microphone feedback.
http://youtu.be/WOcwJGrsuhs

-G.S.S.(Richard R & Sean M.) began with a porn sample that ramirez used a microphone against his laptop to manipulate (which was later turned around playing "niggers revenge") classic harsh noise, junk metal and plastic bags distorted and abused. i think debut live performance from project.
http://youtu.be/LoBuPme6DF4

-Ascites each member played out of their own amp or pa. best performance ive heard from project. distorted junk and loads of high pitched & fast synth action.
http://youtu.be/OsIh2pKdpho


-Churner's performance had a technical difficulty giving the sound a blown-out and distorted effect(due to pedal) but i could still tell it was harsh noise with a strong power electronics roots. very good set minus pedal breakdown.
http://youtu.be/JWOJJX3Uvgs

-Boar was Alex joined by Patrick of ilikeyougohome their set consisted of harshnoise, heavy synth,feedback, drowning delays, and screaming vocals by alex. great end to night.
http://youtu.be/3Df-sJgUQAY
http://youtu.be/pl7QS6vrCZw

IanDB

http://thephoenix.com/Boston/music/129182-out-noise-artists-soundtrack-screen-screams-at-ye/

short review of recent show in Boston featuring Reviver, Xela, Zerfallt, Vomit Arsonist and Xiphoid Dementia.

ARKHE

Any Copenhagers want to share the Marhaug+Niblock+Bennet vs Mayhem experience from yesterday (I think it was)? If anyone attended, I mean.

Ashley Choke

The 30 minutes of Cut Hands I witnessed before leaving was straight up 90s Ant Zen power noise complete with pumping digital beats and gritty youtube visuals, every time Bennet managed to build up something remotely interesting he changed direction and started over so to say. When a visual resembling  a 92' 7up commercial/SNAP music video appeared on the backdrop I packed up and left. Googling African tribe ritual and sampling drum patterns of 80's OL ceremony African performance dance type sounds hardly qualifies as Afro Noise in my book. Many have flirted with the absurdities and mysteries of the African continent. This must have been the most halfassed attempt I've come upon yet(mind you I left one third into the gig)

ImpulsyStetoskopu

Quote from: AC on November 03, 2011, 10:24:06 PM
The 30 minutes of Cut Hands I witnessed before leaving was straight up 90s Ant Zen power noise complete with pumping digital beats and gritty youtube visuals, every time Bennet managed to build up something remotely interesting he changed direction and started over so to say. When a visual resembling  a 92' 7up commercial/SNAP music video appeared on the backdrop I packed up and left. Googling African tribe ritual and sampling drum patterns of 80's OL ceremony African performance dance type sounds hardly qualifies as Afro Noise in my book. Many have flirted with the absurdities and mysteries of the African continent. This must have been the most halfassed attempt I've come upon yet(mind you I left one third into the gig)

My impressions are the same... I am sorry to say it, because Sir. BENNETT's works (as WHITEHOUSE) and views are one of the most important in my life, but his new, solo activity is weak, very weak... and ... probably - needless...

ARKHE

Quote from: AC on November 03, 2011, 10:24:06 PM
The 30 minutes of Cut Hands I witnessed before leaving ... mind you I left one third into the gig

You mean he played 1½ hours?

!!!

GEWALTMONOPOL

#40
Is anyone actually surprised that Bennett sucked?

IRM yesterday was the loudest most vicious I've seen them ever. None of the Supersonic Trend Fucks graced us with their presence of course. Had they dared they would have been crushed by one of the most deafening bands to hit the sorry provincial town with its ever safer bets known as Birmingham in a long, long time. Had a has been like Bennett appeared on the same stage he would have had his arse raped and been left for dead by the roadside. This was more than just a concert, it was fucking war! IRM have had a shitty time of late and it shone through in the performance. There were technical issues before the gig. Misunderstandings between them and the promoter (no ones fault, I know both parties and all are well meaning people who are not out to fuck anyone) and then maybe 20 people in the audience. There was a strange and not always pleasant vibe going on yesterday. The kind that would normally lead to an uninspired performance but IRM just went up there and gave everything. In the end was just Martin on the floor in a fetal position howling as if he was being butchered. I've seen people try similar and it's looked and sounded stupid. With Martin it made the sensation of frustration and desperation all the more potent.

Yesterdays concert blew almost everything I've seen in the last few years right the fuck away!
Först när du blottar strupen ska du få nåd, ditt as...

MR STAB

Couldnt make IRM Due to logistics and stupid Late apointments ahh well there will be other times!


ARKHE

Saw IRM twice in 2009, also very intense; seems like a band that manages to channel all setbacks and negativity to pure intimidating musical force.

Mattias G

Also saw IRM live at Fylkingen a few years ago. Superb live act, very focused and good sounds. The bass guitar work did very much for me, cool to see someone deliver with a traditional instrument but with not so traditional sounds/playing style. Also the background visuals together with the music maked the whole experience even better.