Having caught a little sleep after last nights excesses, I arrived at the LA2 a little worse for wear (both mentally and physically), but nothing was going to stop my enjoyment of Flag Promotion’s latest all-dayer. Being one of the first though the door meant I was able to get a decent vantage for opening act Adfinem. A synth-pop trio from the far northern reaches of England, their short pleasant, pop-oriented set was a nice way to open the afternoon, though it wasn’t sufficient to tempt me down from the balcony. I did pop down to watch Void Construct, now minus the dreaded Tower-PC case but otherwise much the same as last time. Not a bad take on the post-industrial/EBM sound of the day, but not distinctive enough to make me want to buy their album. Continue reading
Slimelight’s Easter special gave us no less than three internationally recognised industrial acts for the price of entry tonight (which was nothing, thanx to free fliers given out at last weeks Pitchfork gig), though events would transpire to mean I only saw the first two. Techno-industrial-EBM specialists Inertia came on first – have seen them twice before, nothing in their set particularly surprised me, thought Reza and Alexys threw themselves into their live show as ever, so I felt obliged to dance away enthusiastically for the duration of their performance.
I was more excited at the concept of seeing Project-X again, though tonight’s performance was somewhat low-key, lacking one keyboard player, and Torny not indulging in the crowd interaction that made last Octobers show all the more memorable. He reeled off all the favourites such as ‘The System Is Dead’ and their version of ‘Push’, and I danced down the front for almost the whole duration, though for various reasons, it just wasn’t as much fun as last time. Icon of Coil came on last, but by now my ears were bursting and I still had Elektrofest ahead of me. Since IoC were playing there too, I retreated to the bar and decided to wait until tomorrow.
The start of a long Easter weekend of live music. Plus point were that both support acts had numbers in their names (always a good sign). The downside was that Kill II This weren’t playing despite initial rumours that they were. They may commit the sin of replacing a word with a number, but I feel they would have been a perfect foil for Fear Factory’s industrial-death-cyber-metal excesses. Still, I was in nice and early, so might as well see what the supports had to offer. Continue reading
Due to the months of unemployment, I’d only bought two of Pitchforks eight albums by tonight, and the new one wasn’t one of them. Anyway, what I’d heard was already more than enough to entice me out on a Sunday night after Slimelight. With work the next day, I was hardly in the frame of mind for such a gig, but I was working on the principle that if the show was good enough, I’d get drawn in and forget about tomorrow. Continue reading
When I look back upon February 2001, I will always see it as a disturbing, depressing month, where I was both unwilling and unable to do anything of purpose. There was one bright light amongst the gloom, and the Suicide Commando show at Slimelight was it. I had no idea what their music sounded like, I’d only seen the name written down, but somehow I felt something special was going to happen. Andy Goodwin’s hard EBM warm-up set set the adrenaline pumping round the room, but tonight he was mere side salad to the raw meat offerings of Mssr Johan Van De Roy.
From the first song through to the end of the set, Suicide Commando showed us how industrial dance SHOULD be done. Every time a songs beats kicked in, the massed crowd responded in perfect time, and didn’t stop until the music did. ‘Hellraiser’ was the strongest song on offer, althougn no song was exactly weak. The solid beats, distorted vocals and harsh electronics pleased fans of all schools of Slimelight-friendly industrial at once, and the encore was inevitable, whilst VNV Nation took the opportunity to come onto stage and give away lots of goodies (thanks for the ‘Standing’ CDS, Ronan!). But that was mere garnish, In one night, Suicide Commando had not only broken into the UK industrial circle, but established themselves as one of the leading acts in the scene.
This may have been a date tagged onto the end of their American tour, but that didn’t bother me. I’d been waiting to see Front 242, and finally my chance had come. My tickets were ordered well in advance, and given the appalling weather, I had even come into town by a more reliable train line. Nothing was going to ruin tonight for me. I’d been let down too many times recently. A last minute change in the support line up meant Zombie Nation had disappeared, but as they’d since become a silly Top 40 techno band, no-one really cared too much. Void Construct thus got an unexpected chance to open proceedings. Their show went as well as any band who runs Cubase from a tower PC could hope for, but their FLA-type sounds need more stage presence to work effectively. Continue reading