ladyspythenight

Stabbing Westward with Caustic and Bellhead

on May 16, 2024May 21, 2024 By ladyspythenight

Text by Jen Wilson-Farley (Ladyspythenight)

at Crucible, Madison, WI, April 25th, 2024

Before I talk about these incredible artists separately, I wanted to just say that this evening was a masterclass in the many possible moods of live performance. It was an absolute joy to witness.
Let’s start with the legendary Stabbing Westward.

Stabbing Westward

This band needs no introduction to our audience (although I had to learn more as I’d missed their huge years while being overseas and unaware). We’ll mostly be focusing here on what this incredible band did at this very special, intimate show.

It was Crucible’s first ever sold-out concert, and the buzz and anticipation was palpable. Filled with people from all over, some who’d even flown in for the show, the club had a festive feel during and after being entertained by the incredible Bellhead and Caustic. Now it was time for the moment many of the people present had waited two decades for.

Chris Hall is a rock vocalist like few others. With an incredible range and control, he powered into their first song, “Ungod.” As the foreboding, slow-build grind of bass and Chris’s voice start the song off, we are suddenly taken into a classic SW chorus…

Take this as an offering/Take this as a sign/How much can you take from me?

Other original band member, Walter Flakus, was an energetic presence, with his keyboard set right on the lip of the stage when he wasn’t leaping around on bass. Carlton Bost (of Orgy, Deadsy, and The Dreaming [Hall’s other band]) on guitar and Bobby Amaro (Orgy) on drums rounded out the incredible line up.

Three songs in, they launched into The Cure’s “Burn.” The gothier element of the room were especially thrilled and danced in whatever space they could find. It was a gorgeous and loving take on the song, assisted by beautiful crow imagery from the video backdrop.

The more industrial, synth-and-bass heavy “Lies” was probably my favorite moment of their set.
It brought me back to what I loved most about 90s alternative music with its heavy guitar riffs and anxious synth lines.

Though they didn’t play much from their latest, critically-acclaimed album from 2022, Chasing Ghosts, when they did, the results were electrifying. “Dead & Gone” is a throbbing beauty, with Hall’s vocals at their richest on the verses, while most urgent and powerful on the chorus. Vocals being my absolute focus when at any live show, this song, which shows off his skills so beautifully, was an absolute joy to hear. I was especially astonished to hear that Hall had dealt with throat cancer just two years ago. What a talent and survivor.

“Violent Mood Swings” (video below) was so much fun. Being up at the front with everyone singing along was so great to experience. The beat of this song is so intense and Hall continued to work the crowd, coming up on the middle monitor throughout the show, encouraging their participation. He was clearly having a great time.

Ending the set with two encores, and 16 songs in total, was “Save Yourself.” Hall asked, “You guys ok if we end with a brand new song?” This song was a perfect way to end this intense and intimate set. The crowd were in heaven and the band (especially Hall and Flakus) seemed to be relishing every last moment.

An absolute delight to see. May we see more of this beloved band on the road in the future.

Stabbing Westward’s setlist:
Ungod
Falls Apart
Burn (The Cure cover)
Wasted
Lies
Sometimes it Hurts
Drugstore
What Do I Have to Do?
Slipping Away
Dead & Gone
So Far Away
Nothing
Inside You
The Thing I Hate
Violent Mood Swings
Save Yourself

Stabbing Westward’s 2022 album, Chasing Ghosts, can be found here on Bandcamp:

https://stabbingwestward.bandcamp.com/album/chasing-ghosts-2

Check out DMNX’s incredible live concert photography at:

https://dmnxphoto.pixieset.com

Caustic

Caustic’s Matt Fanale came ready to party. As he said in a later interview, “I want to harness the energy and the passion of the moment and not pretend I’m all angry when I’m in a good place in my life and with my music. I want to throw a party. The world is a fucking mess right now. Let’s lose our minds for 45 minutes. Trust me, we’re going to have fun.”

Having seen Fanale’s other projects Klack and daddybear live, this was my first time seeing Caustic. When I asked about Caustic’s onstage persona, he said, “A lot of artists like to assume a character on stage, but I’m pretty much the louder version of myself.” He prowls back and forth like a slightly crazed tiger who’s in on a joke no one else knows, and it’s incredibly fun to watch.

Caustic was joined onstage by core live members Eric Oehler (of Klack and Null Device), (who was in charge of tracks, manipulation, and glitch) and Katja Lunde (formerly of Sensuous Enemy), providing atmosphere and “additional beep boops” and vocal support, as well as newer addition Bob O’Tron
(of Sensuous Enemy and Subcutaneous) on drums.

Second song in, “White Knuckle Head F—k” (video below) was pure industrial joy. If there’d been more room in the sold out show, I’d have been dancing like a maniac. Irreverent, self-deprecating lyrics like:

Watch me fall… I’m your favorite trainwreck

are part of what has earned Caustic such a loyal following over the years.

Video courtesy of Jen Wilson-Farley

“Bigger Better Faster Now!!!’s” repeated opening squeal is the intro to a song that reads like a scathing critique of the last gasps of end-stage capitalism. Its driving beat is intense and exciting.

“F—k that Fascist Beat” (video below) continued Caustic’s assault on the powers that be. All of which feels increasingly relevant, even though these sentiments can be traced back to the early days of punk. As Fanale said of his ethos, “it’s always been more punk than ‘industrial’ anyway. The more chaos and insanity I can put out the better, and the more the crowd comes with me, the more of an experience it is for everybody.” Refuse/resist/raise your fist… always feels reassuring to hear in ridiculous and terrifying times like ours.

Video courtesy of Jen Wilson-Farley

During “Bury You Alive,” it was cathartic and fun as hell to hear Caustic scream “EAT SHIT!” and ask the audience to scream back “FUCK YOU!” (in the style of UW Madison student football fans) repeatedly. If there were ever any question of pretense, the punk-inspired back and forth between Caustic and the audience blew it out of the water. Watching Caustic and the fans flip each other off was a delight.

When I asked Caustic what it meant to open for the legendary Stabbing Westward, “I’m definitely a fan. Chris Hall has a great sense of humor in front of a crowd, so it’s a nice notch on my bedpost playing with them at a sold-out show in my hometown. We all brought the noise. It was a great time.”

A Caustic show is irreverent, sarcastic, fun, and never takes itself too seriously. It is hugely refreshing to witness. He’s been taking Caustic’s sound in a different direction, as seen on his most recent release, Buggy. This was inspired heavily by artists such as Techno Animal’s Brotherhood of the Bomb, Kevin Martin, aka The Bug, Scorn, Gorgonn, Choke Chain, Puerta Negra, and Nuxx Vomica. When reflecting on his slower tempo, mostly instrumental Buggy EP, he said, “There’s so much energy in slower BPMs that have a lot of low end bass on them. It’s been fun playing with those sounds,” he explained.

Sadly though, according to Fanale, there may not be many more Caustic shows going forward, though he does plan to make more music. He said, “I kinda like the thought of my stay being finite. I’d rather do an Irish goodbye than stick around until it’s embarrassing that the handjob guy is still yelling F—K a lot at a crowd which may not wanna pay a babysitter to hear that anymore. We’ll see, the internal debate rages on.”

Even without more live shows in the works, Caustic’s new work, along with Klack and daddybear, keep him a very busy man.

Caustic’s setlist:
Intro
White Knuckle Head F—k
Bigger Better Faster Now!!!
Little Pharma
Emmanuel Lewis Handjob
F—k That Fascist Beat
Bury You Alive

https://caustic.bandcamp.com

Check out DMNX’s incredible live concert photography at:

https://dmnxphoto.pixieset.com

Bellhead

I have reviewed and interviewed Chicago’s Bellhead before, after seeing them for the first time at Crucible a few years ago. I was beyond thrilled to see them again as they opened for Stabbing Westward and Caustic. Starting 2024 off at the inaugural Thrashnetic Festival (a memorial and suicide prevention benefit) in Milwaukee, Bellhead have been touring a lot this spring, and will be heading to Missouri and back to Tennessee this summer.

For those new to Bellhead, their website’s tagline reads:
Post-punk male-female duo band. Two basses and a drum machine. No Guitar, No BS.
MADE IN CHICAGO

This really is the cleverest and most accurate description of a band I’ve ever seen. High bass, lead-vocalist Ivan Russia and low bass, vocalist Karen Righeimer-Schock and are on a mission as one of the most exciting and unique bands in our scene. Labeled as everything from punk to goth, and everything in between, they defy the norms and expectations all too often set in the darker genres.

Ripping into the set with “Mercy,” the grungy low bassline set the tone for their set. The audience, likely very new to them, was immediately won over.

Next was a newer song, “Into the Deep,” from their most recent EP, Good Intentions. This song shows off Russia’s lyric-writing skills, which are marvelous and unique.

I was a drowning man/She had a cold war stare/Under blood red skies/We had a sordid affair
I was a penitent man/She was my skeleton key/I had a new handshake/Before they turned on me

I asked them about the themes of their lyrics, and Russia had this to say, “I like unreliable narrators. When there is a sole survivor of a shipwreck, do you take him at his word? I wanted to go all in on song lyrics that were open to interpretation. Are the intentions truly good or is there something else unseen?”

Soon following was their cover of Prince’s “I Would Die For U.” They put a decidedly darker post-punk turn on this classic, which was brought down to its brass tacks in a most beautiful way. Its lyrics weirdly match so much of their style.

Their stage presence is fun and commanding at the same time, while looking somehow effortless. Launching into “Bad Taste,” Russia hams it up to mock his protagonist. Halfway through, he screams his lyrics midway in a convincing burst of anger. Then as Righeimer-Schock starts a juicy, low solo, they go into their signature double bass bridge that, to me, shows off the core of their unique sound
(video below).

Video courtesy of Jen Wilson-Farley

Bellhead’s philsophy of performance is highly refreshing. When I asked what the most important elements of their shows were most important to them as a band, Russia responded, “We’re here to entertain. We work to make sure every minute we are onstage is entertaining. I try to give everyone in the audience at least one eye locking moment of attention during the show. We strive to give back to the audience all the joy they give us. Enthusiasm is a virus to spread.”

They ended their high-energy set with what’s become one of my favorite songs in general, “Unicorn Bones.” The crowd was definitely giving back the joy for this song, with many at the front dancing as much as they could on the packed floor. Always a great sign for an opener for such a huge band as Stabbing Westward. They explained that they are not only fans, but have also worked with them in the past. A Chris Hall remix will even be appearing on their next EP!

I loved their responses to my question about how to stay sane while touring as a busy band with many other responsibilities in their lives.

Russia: “Bananas and water keep my body taped together.”
Righeimer-Schock: “The trick is to be kind to yourself. And don’t forget to call your mother.”

Bellhead’s setlist:
Mercy
Into the Deep
Frankenstein
I Would Die For U
Bad Taste
Heart Shaped Hole (New Song)
Nothing as it Seems
Unicorn Bones

BELLHEAD BAD TASTE TOUR 2024

5.3 Black Lodge: Memphis TN w/ Palm Ghosts / DJ Evonech
5.4 5 Spot: Nashville TN w/ Palm Ghosts / Cold Equations
5.10 Cobra Lounge: Chicago IL w/ Young Medicine / Danny Blu
5.11 Healer: Indianapolis IN w/ Cemetery Sex / DJ Kaleidoscope
7.19 Flavor 90s Bar: Nashville TN w/ Cassette Stress / Sugar Skulls
7.20 Rude Dog Pub: Cape Girardeau MO w/ Gary Robert and Community

https://bellhead.bandcamp.com/music

Check out DMNX photo’s incredible concert photography here:

https://www.instagram.com/dmnx.photo/?fbclid=IwZXh0bgNhZW0CMTAAAR17Ithorjy1cRjcPAsXZD3vsXwPVFTPjm3I1At-3rPVKxANPGYKX7GDMtM_aem_AYHFZD3Jb2RLZyIV5zl5qp2ky7rotFKfi4r-E_AWkp1m91O0wGcz3iDb5ul1td9837kh9Mbh7c-dfxJeYvTrfL2K

BOOTBLACKS with Carrellee and Lorelei Dreaming

on May 16, 2024May 17, 2024 By ladyspythenight

Text by Jen Wilson-Farley (Ladyspythenight)

at Crucible, Madison, WI, April 24th, 2024

Bootblacks

Bootblacks is a band on fire. When they hit Crucible for the second time, they were wrapping up a short, sold-out tour with Twin Tribes and Urban Heat. Being some of the nicest people on the road, they were kind enough to give me time for a quick interview that I’ve woven into their show review.

On this tour, the band was made up of founding member Panther Almqvist on vocals, longtime band member Barrett Hiatt on keys and electronic drums, and incredible guest guitarist Nicolas Isner of Berlin’s Alice Gift. And as if to announce their increased electronic focus, they opened with the urgent hard-electro beat of “The Jealous Star (Remix).” Panther stalked his way through the darkly sad lyrics:

When I walk, I walk alone / Deserted heart towards an empty throne.

As Barrett said before the show when discussing his love of depressing music, “There’s nothing better than a sad song you can dance to.” This sad song made a banger, highly danceable opening, and despite sound issues on Isner’s guitar line (which he handled beautifully), it was an exciting way to start our time with Bootblacks.

Photo courtesy of Jen Wilson-Farley

With his signature light-on-his-feet jig, Panther then led the crew into the stellar, “Hidden Things.” Panther’s voice is so hard to describe well, but I’m still going to have a go because it’s what makes it extremely special. His voice almost sounds as if it’s haunting itself—its cadence is both atmospheric and emotive, with a depth of feeling that is exceptionally beautiful and unique.

Video courtesy of Jen Wilson-Farley

“Captives” (in video above) took on a heavier industrial-tribal intro beat with Barrett hard at work on the drums and keys. A wonderful pairing with Panther, Barrett’s enthusiasm is infectious and his energy endless.

Video courtesy of Jen Wilson-Farley

“Decoys” (video above) was a heavy synth joy that even the reluctant dancers found themselves dancing to. A post-apocalyptic love song of sorts, its later half had Panther pleading in its final refrain:

Meet me outside/to see the sky is falling/meet me outside/to see the cities burning/meet me outside/
to hear the ruble yearning/meet me outside/there will be no tomorrow/meet me outside/I could be
closer to you…

Video courtesy of Jen Wilson-Farley

New single “When You Want” sounded amazing live (in video above). One of their sexiest songs to date, the beat has a depth and immediacy that is incredibly infectious. I imagine this is making it onto many DJs sets at the moment.

Finishing up the set was “Forbidden Flames.” Like biting into a warm marshmallow dripping with chocolate, the song’s sound is delicious and reassuring. Its lyrics, however, leave you yearning for something while feeling slightly unsettled.

Asleep at the wheel, steady spin/The world is upside-down, I’m ready to win/I’ve gone too far, I’ve made my bed/So lay down my love and teach me to sin

Bootblacks’ sound is immediately recognizable, and stands out among many of its contemporaries. When talking with me about the development and evolution of their sound, Barrett explained, “I always admire artists that sound like themselves. We love it when people say, ‘what do they [Bootblacks] sound like,’ and they go, I don’t know, they sound like Bootblacks!”

Photo courtesy of Jen Wilson-Farley

Barrett explained that they have been putting new singles “What You Want,” “Wilderness,” and “Forbidden Flames” out over the past year, unlike their previous habit of releasing full albums. They expect to have the whole album out by sometime this summer. I for one cannot wait.

Bootblacks’ setlist
The Jealous Star (Remix)
Hidden Things
Captives
Erosion
Decoys
Hold & Dissolve
When You Want
Traveling Light
Forbidden Flames

Upcoming shows:

Terminus Festival, Calgary, Alberta: July 25-28, 2024
East Coast, West Coast, and European dates for 2024 to be announced soon!

https://www.bootblacks.net

Carrellee

Carrellee has been taking the scene by storm ever since her debut release Scale of Dreams (Negative Gain Records) and Rescaled, remixes from her debut from 2023. She is not new, however, to music, coming from an accomplished singer-songwriter folk background under her previous work with
Kivi & Pray, and as Sarah Pray. Like Bootblacks, she was kind enough to do a short interview with me before her set.

She started out the set with her album intro song “Can’t Explain It.” This song is dreamy, like all her music, and shows off her softer folky roots. When asked about coming out of that tradition and into electronic/darkwave, Carellee explained the transition. “I was doing music with my ex-husband together in a duo. And so it [coming back to darkwave] was just like a nice little sanctuary for my own thing to go back to my place a little bit, because I always liked that kind of sound, but you know, he liked folk music.
I wanted to have fun with music again, and like something that people can dance to maybe, or just feel something a little more emotive than maybe what I was doing before.”

Carrellee showed off her exciting new single, “The Journey,” (video below) one of the songs in a flurry of collaborations she’s been involved in recently, this time with Cagedbaby. This was an absolute banger that had an incredible final chorus that showed off her vocal skills beautifully. She said this about collaboration in general and on the recent album, “it’s very satisfying to experiment to see how two sonic worlds may collide in unexpected ways.”

Photo courtesy of Jen Wilson-Farley

Carrellee says her influences go back to the 80s primarily, and this is very evident in her work and her live performance style. As she launched into “Stay,” I was struck by how this song feels like an 80s-style romantic plea that you don’t hear very often anymore. This is the emotion she said before the show that she’s going for, and it’s powerful. The lyrics show her exposed and vulnerable—which is very much interpreted through her vocals—at their loveliest and most dramatic on this song. Soaring towards the end of the first verse and finishing in a whisper, she sings, like a movie, there’s no way out of here…. The song has a long final chorus and outro I wished you’d stay/forever repeated in a desperate plea that settles on resignation. It’s heartrending stuff that I imagine slow dancing to at the prom I never attended.

When talking with Carrellee about Scale of Dreams, she was very happy with the work Brett Bullion did with her demos, especially running it through scorched and crumpled reel to reel tape machines and adding a rich, organic warmth. She mentioned that he also sped up the tempo, which she appreciated. But she looks forward to making a faster tempo, dance-focused album next time. When she started into “Heaven Or,” I felt like we were seeing a glimpse of this new direction. Its slower tempo verses are sped up by an incredible earworm of a chorus asking the listener what their choice is, Heaven or/ Hell? The driving beat that bridges after choruses also gives a peak at a heavier, grittier sound to come. It works beautifully. This trend continued as the gentle throbbing of her final song, “Morning Sun,” closed the set.

Immediately noticeable since I last saw her opening for IAMX, she’s stepping away from behind the keyboard, moving more, and showing more physical interpretation of her music. This feels like she is ready to become more expressive visually, and more vulnerable, as a performer, like the music she writes. This reminded me of a comment she later made about Scale of Dreams, “The songs seem extra special to me, more direct and vulnerable because they marked a transition personally and musically for me.”

With all the other recent collaborations with people like Hvppy Devth and Jason Alacrity, as well as a set at this year’s Cold Waves festival in Chicago, Carrellee has a lot of momentum. Look out for her new album or EP sometime this fall.

Carellee will be on a short tour this summer and doing guest slots on a European tour this summer. Catch her in the Midwest in July!

7.6 Madison, WI: Mickey’s
7.11 Kansas City House Show
7.12 Iowa City, IA: Gabe’s
7.13 Dubuque, IA: The Lift
7.14 Davenport, IA: Raccoon Motel

Cold Waves, Chicago: Metro (9.27)

Carrellee setlist
Can’t Explain It
Smile
The Journey (unreleased collaboration with Cagedbaby)
Bonnie and Clyde
Stay
Heaven Or
Mirror
Where I Once Loved
You
Death Dance
Morning Sun

https://carrellee.bandcamp.com

Lorelei Dreaming

You can see the joy of performance in Lorelei Dreaming’s sets from song one. As Lorelei (Laura Bienz) points out, she used to travel and perform at churches as a child and is a pure theater kid who still loves and finds inspiration from musicals such as Beetlejuice and Wicked. She launches into the lovely, slow synth throb in “Of Stars” in a sparkling swirl of light and color that never really slows down. “Yeah that is me being me,” she says of her swirling dance style. It reminds me of her comment that she’s always been the girl that jumps in to start the dance floor. She is ready to enjoy the hell out of her performance.

Laura was backed up by bandmate (and partner) John Freriks (also of I.X.XI and Sensuous Enemy) on guitar, keys, and backing vocals, and Reuben Surrender (of Rachel’s Surrender) on keys. She had a stage beautifully lit by John’s programming, topped off with a rainbow laser extravaganza (otherwise known as Unity Laser). All of this together made for a lush presentation, accompanying beauties such as “Night Drive”’s dreamscape and energetic chorus delightfully.

An area in which Lorelei really stands out as a performer is the fact that she’s not afraid to show that she’s genuinely happy to be on stage, dancing with her audience, telling them stories through her beautiful vocals. In a sea of often grim-faced and static performance styles in the darker genres, Lorelei pushes back with her dancing joy on full display. As she says, “my passion project is to inject these things that are uncommon in our scene, and I think our scene deserves it as much as anyone else’s.”

Inspired by female artists such as I Ya Toyah and Brittney Bindrim, among many others, Lorelei is eager to keep supporting women artists in any way she can, from stage costuming to who she chooses to work with musically. On this night, she wore a sparkling piece by Madison, Wisconsin artist Brenda Smage
(of B True Creations). When considering who to approach for her most recent album of remixes, Retold Fables, she chose a wide variety of female artists, from Kanga to Eva X. She explains that this came as a reaction to the Trump era we all found ourselves in.

Laura embodies her music beautifully throughout the set, inviting us to join in with club favorite “Scream With Me” midway through. She finished up with the exciting, building pulse of “Edge of the World” (feat. Digital Gnosis). During this last song (video below), Laura jumped off the stage to dance with the audience, continuing her role as the girl who starts the dance floor. I’m always so impressed with artists who want to create such an intimate connection and sense of community with their audience. It also shows a great deal of trust in your people.

Video courtesy of Jen Wilson-Farley

Though she says a new album might not be on the horizon as albums feel like they “might be going the way of the dinosaurs,” she does have songs that might be released more as singles in progress. She looks forward to collaborating with Freriks on new music. As Lorelei says, “I try to make timeless songs that anyone can read and hang their hat on and see what they need to see of themselves and whatever they’re going through at the time.” I can’t wait to see what Lorelei Dreaming comes up with next!

Lorelei Dreaming’s Setlist
Of Stars
Miracle Parachute of Gold
To Leave This Heaven
Night Drive
Scream with Me
Edge of the World (Digital Gnosis remix)

https://loreleidreaming.bandcamp.com

IAMX & Visceral Sexual Universal Unspeakable Love

Featured By ladyspythenight

By Jen Wilson (Ladyspythenight)

IAMX at Crucible Madison, WI, June 18, 2023

Chris Corner, the singer, writer, and producer known as IAMX, is a force of nature. Having started out by forming popular trip-hop band The Sneaker Pimps in the 1990s, Corner has since evolved into one of the most exciting artists in dark electronic music. But before continuing my review of IAMX’s most recent album, Fault Lines¹ and a stop on the Fault Lines¹ tour, I must give full disclosure that Corner is my favorite artist and that I’m part of the IAMX Patreon group (who call themselves the Tribe or the Cult). Needless to say, I am beyond thrilled to be able to include his answers to some interview questions so that you can also hear about the album and tour directly from the man himself.

The Fault Lines¹album

https://iamx.bandcamp.com/album/fault-lines

Fault Lines¹ exudes raw emotion. Its unique beauty within the IAMX discography lies in the increased urgency of that emotion, reflected in the kinetic sounds and explosive voice. Combined, they show an artist deeply disappointed by human beings while staunchly refusing to giving up on them. He seems to be communicating his deepest concerns about what becomes of us once we give in to the darker thoughts that fuel our division. The beats are harder, the synths more frantic… and although the lyrics are damning of the “fanatics” Corner mentions, there are still passionate pleas not to give into our darker impulses of division in an age where we are too often being forced to think of those we disagree with as “the enemy” the media around us.

Corner relies on confessional lyrics that are often highly introspective and self-reflective. After commenting that this album feels like a raw response to the world since 2020, I asked Corner how changes in life since then have affected his writing.

“Covid changed us all. It felt like a pivotal historical turning point in many ways for western culture. Yet personally I felt very comfortable leaning into the quiet and reclusion that covid brought. I’m a very selectively social person anyway so lockdown was just a more intense version of my life. But it did give me more time to be obsessively observant and being exposed to all the world’s issues every second of every day just confirmed what I’ve always seen in humanity. The ignorance, the self-destruction, the fracture and division. Unfortunately, the modern media and hunger for car crash sensationalism just amplifies everything into a grotesque caricature. The scum keeps floating to the top and even more so in a culture yearning for cheap dopamine hits and echo chamber affirmation. What happens out there has to become a catalyst or motivator for the opposite. I feel the pushback will increase. The altruism, deep self-love, need for peace and balance and openness. This record is a tiptoe into calling out the horrors and signaling the need for change and personal growth.”

Disciple, the hard-hitting opener, throws us into the harder edges of IAMX world. The higher notes of his chorus are more raw than any in the past, soaring urgently, yet backing off just at the last moment as if to rein in his growing desperation. We move onto the first of a few direct social commentaries in Fault Lines. IAMX offers a dizzying dance between exhaustion at the ridiculousness of the times we live in and pushback against the fait accompli of our immovable division in this world. As we enter the softer pulsing synths in the next track, In Bondage, we see a submission to the flesh “in the dark arts” as being the only answer. It leaves us with a haunting mantra, “Nothing changes but my blood flow,” slowing down the song to an increasingly halting heartbeat. The X IDmoves on to ask the listener to find self-love and revel in the basic fact of our existence with a rousing and emotive chorus and bridge, screaming through distorted vocals…

I am alive/I am alive/Oh say it to yourself say it to yourself!

IAMX then slides gently into Radical Self-Love, showing us the delicacy and beauty with which he can touch on some of the darkest questions the times are forcing us to ask ourselves. This song is a ballad in the vein of This Will Make you Love Again and Alive in New Light, sliding between tenuous to fierce piano and soaring vocals that softly question before climbing towards a call to action on taking one’s own mental health seriously. The choruses are written with a call and response, internal dialogue that depicts the conflict we have when trying not to hate those who are doing so much to harm us and the wider society we are trying to exist in.

Breathe slow with me/When our darkness turns us into total enemies/Find your mercy/When the anger grows and it overwhelms me

Show me your, show me your/Radical self-love

He asks further how we are meant to function in this state of mind:

Conflict junkies/Our judgment kills the feeling there’s a you and me/Find your mercy/When the anger grows and it overwhelms me

All of these questions feel urgent, heartfelt, and so very relatable.

The title of a favorite later track, Thanatos, uses the Greek word for ‘death.’ But, in classic Freudian psychology, it is also the drive within and among individuals between Eros, the positive drives of life, love, creativity, sexuality, self-satisfaction and species preservation, and the opposite drive of aggression, sadism, destruction, violence, and death. I read this in the lyrics and sound, feeling an undeniable sense of watching our progress towards Thanatos with a growing sense of horror. The screaming chorus: Do you bury your dreams in apathy? seems to me a clarion call to action. This is paired with the most urgent, driving beat and synths of the album. Starting out menacing but muted, they rise toward a climax of frustration at allowing ourselves to be so overwhelmed that we choose to do nothing.

These questions and pleas to give a damn and look after our mental health are no surprise to those familiar with IAMX’s work, deeply informed by his own battles with mental illness and insomnia. He is a passionate supporter of The You Rock Foundation, which works with musicians who have struggled with their own mental health challenges, and has often held mental health gatherings recent tours, this tour included. This album feels like an acknowledgement of our shared mental struggles against the increasing darkness we’ve faced since 2020.

Fault Lines¹ tour stop at Crucible, in Madison, WI

After I Speak Machine had to bow out as opener after a few shows in on the tour, Madison’s own Carrallee stepped into the opening spot. Her show highlighted her lovely, sensual vocals that slide over dreamily distorted synths. She is a welcome and rising force in the darkwave scene, after having been a folk singer/songwriter. I look forward to dancing to her noir-informed beats on songs such as Morning Sun and Heaven or Hell.

The large crowd grew in its excitement as the time approached for IAMX to take the stage. The energy as they burst onstage was electric. All three masked, the slow lead into The X ID was punctuated by Chris asking the audience, “How do you feel?” through distortion that he would use off and on throughout the set. The song was a gorgeous way to start the show, setting the tone for a high octane experience. Launching into the luscious Sailor, Janine Gezang, longtime IAMX band member, collaborator, and Queen, amped up the energy as only she can, stepping in front of her keyboard to do a shimmy in her body suit and mask. The vampish interactions between Chris and Janine began in earnest and the crowd ate it up. Dramatic builds and pauses leading up to a chorus would prove to be a regular feature throughout the set. The final chorus ended with Chris releasing all his vocal prowess into I wanna be a sailor screams.

Photo courtesy of Fe Gaffney

I had asked Chris about the trials of looking after your voice on tour.

“It’s not easy to find a solution to truly feel secure with vocals on tour. It’s often a source of anxiety and pressure since really the whole thing pivots on the relatively fragile muscle in my throat. Not just how practiced or fit it is but the shit that goes in there night after night. The stage fog, the unclean public venues, the screaming sweating audience throwing billions of bacteria into my face! It’s amazing that it survives one show when you think about it. But fun aside I try to rest a lot, retreat a lot, hope a lot, and warm up like crazy. Somehow I get through.”

Photo courtesy of Victoria Jayne

Shortly into the set, the masks came off, and the visuals suddenly came into focus. Two video screens strategically placed at either side of the stage showed off a mix of natural elements and phenomenon that so often show up in IAMX videos as well as clips of the band and BDSM imagery. These added to the drama and energy of the show, and are so appreciated by a visual nerd like myself when so many bands I see live do so little in that area.

I was thrilled to hear them do Screams. This song is beautiful and delicate storytelling and, with a lovely extended build to the chorus. At the end, before the last chorus, he hugged a fan at the front and let the song end with delicate drums and piano. There were other hugs and shouts out to the very dedicated fans, and the gratitude from the band was tangible.

Next was a major highlight, starting with Janine’s menacing German nursery- rhyme-style vocals that weave their way through I Come with Knives. This song really allowed live bandmate Jon Siren to show off his incredible drumming skills with a heavier focus on the beat. The energy between Chris, Janine, and the audience was electric.

An excerpt of I Come With Knives courtesy of Jen Wilson

Speaking of Janine, her constant enthusiasm and musicianship is such an integral part of the IAMX experience. Whether she’s doing really cool stuff like her muted bass beat to lead in Exit, to her constant dancing, she’s a joy onstage.

Photo courtesy of Victoria Jayne

Chris donned an Elizabethan ruff, offered by a tech, to launch into his cabaret-style, waltz-beat work, including President and Bernadette. The chorus of President was joyful and cathartic.

Happiness and No Maker Made Me seethed with defiance and rage, especially in their choruses. For me, they proved exceptionally cathartic. Whenever Chris screamed, “Liar!” or “No maker made me!” repeatedly, it felt like so many moments of rage I’d felt in recent years were being summoned… and expelled, if only for that moment.

The band took on a softer tone for the final song of the night with This Will Make You Love Again.

An excerpt from No Maker Made Me courtesy of Jen Wilson

As any musician will tell you, touring since Covid is such a different beast. But IAMX had a surprising response when I asked how it feels in 2023.

“Oddly It feels settled for the first time. During Covid I experimented with faceless electronic modular synth tracks and managed to do a few solo shows. Just me and my modular. Back to the roots of early IAMX. This laid the template for the new record and the edited band performance. I feel I have more control over my sound and leaning out the band elements has somehow created more power. It all feels like streamlined IAMX on steroids. Similar but smarter and meaner. I admit that Covid really fucked with us as an independent project. There are new financial and practical challenges in our industry and specifically the alternative scene. But on a more positive note I’m very happy with the shows and I sense the hunger growing out there again in my beautiful people.”

Courtesy of Jen Wilson

As the last notes of the show were played, I looked at my fiancée, feeling thrilled, refreshed, and so grateful to finally have seen my favorite artist, with her, in my home away from home, Crucible. No other artist has moved me so deeply, and sharing in that live experience after such a long wait meant the world.

I thoroughly enjoyed getting to know another one of The Tribe, Fe Gaffney, who had driven hours to get to the show. I asked her to share what her favorite thing is about seeing IAMX live.

“My favorite thing about any IAMX show, next to seeing the band and hearing my favorite music, is seeing familiar faces. The fans feel so deeply for his words and music, we all have this near tangible connection to each other, this overt belonging. I’ve never quite felt a connection to an artist so strongly as IAMX, and this is an overwhelming sensation being in a room with so many others feeling the same way. Over the years, so many familiar faces have connected and contributed to this online community, forming a tribe. Chris and Janine recognize this incredible collection of fans and have more than shown their respect for their fans over the last few albums.”

The head and the heart are constantly challenged by IAMX’s work. This translates beautifully to the live experience, creating an invigorating exchange of energy. I asked Chris what he gets back from the audience each night.

“It’s difficult to put into words the intensity of the emotional exchange we feel. It’s the superpower source of the purpose of IAMX. It’s visceral sexual universal unspeakable love. It makes me feel accepted, understood and hopeful for humanity.”

Look out for a second album to pair with Fault Lines¹, set to come out later in 2023…

You can see IAMX live in North American again this year at Cold Waves, Chicago, on Friday, Sept 22. They will then embark on the European leg of the tour (dates below).

A link to the You Rock Foundation can be found here.

The new IAMX album can be purchased here on Bandcamp.
Carrallee’s debut album, Scale of Dreams, can be purchased here on Bandcamp.

Crucible Madison setlist:

The X ID
Sailor
After Every Party I Die
Fault Lines
Screams
I Come with Knives
Exit
President
Disciple
Happiness
No Maker Made Me
Bernadette
This Will Make You Love Again

Remaining North America and European 2023 Tour Dates (link here for tickets):

22 September Cold Waves Festival XI, Chicago, IL

26 September         Bratislava, SK
28 September         Prague, CZ
29 September         Budapest, HU
30 September         Graz, AT
01 October              Vienna, AT
03 October              Sankt Gallen, CH
04 October              Munich, DE
06 October              Barcelona, ES
07 October              Madrid, ES
09 October              Brussels, BE
10 October              Paris, FR
11 October              Cologne, DE
13 October              Leipzig, DE
14 October              Hamburg, DE
15 October              Copenhangen, DK
17 October              Utrecht, NL
18 October              Frankfurt, DE
21 October              Berlin, DE
22 October              Warsaw, PL
24 October              Wroclaw, PL
25 October              Brno, CZ
27 October              Stockholm, SE
28 October              Gothenburg, SE
30 October              London, UK

Al1ce with Bellhead and I.X.XI, June 27, 2022, The Crubicle, Madison

on July 23, 2022July 23, 2022 By ladyspythenight 1 Comment

by Jenny Wilson

I.X.XI

This was an incredible night at the Crucible. It’s the first time I’ve been tasked (I say task, but it was a joy) with doing short interviews with the artists before their performances. Everyone was lovely and so forthcoming with their answers. And the shows were stellar. So first off, I want to give a big thank you
to all the artists for their time.

The evening’s performances started off with Madison, Wisconsin’s I.X.XI, (who performs anonymously). I.X.XI started his project in 2012, shortly after his sister’s passing. He said that it is a project he initially thought would never see the light of day. But he wanted to finish the album, and being able to perform it would “help close a chapter he’d been leaving open for 10 years.”

When asked about the themes and style we’d hear, I.X.XI. explains:

“It’s about processing loss, survivor’s guilt, and other themes in time… the cyclical nature of life and death, but not in a reincarnation sense… I’m inspired by sci fi, samples of Battlestar Galactica and Westworld show up… and a feeling of dehumanization. The upcoming album starts with epic strings and pianos and then feels like it’s breaking down into something very mechanical, kind of like being an automaton is the only way you can get up in the morning. It was my grief journey, and then as it continues, you build your way back, to find creativity, beauty, and meaning in things again.”

Clad in a hooded cloak and mask, I.X.XI. began his set with the chilling, slowly driving beat of Eremite. Sporting two mics for differently distorted vocals, he ends the song with painful murmurs. He makes a point of immediately launching into each song without gaps. As he says, “I like having people feel uneasy. Everything brick walls… as soon as you think you know what you’re feeling, you’re feeling something else.” The next song, Gone, is painfully beautiful. Darkly cinematic waves ripple throughout, from this song to the next. As he moves through the song, Deep, the vocals become more intelligible, and incredibly moving. By the time we reach Breathing, we’ve moved into a cinematic dance song, with the devastating, repeated line, “Is it enough to say that I’m breathing?” This mantra, along with other moments in the I.X.XI set, brought me to tears.

Being a longtime member of Sensuous Enemy and now also a member of Lorelei Dreaming, I.X.XI is relishing the opportunity to connect the music of I.X.XI directly to his own lyrics. As he says, on his other projects, he’s used to the disconnect between the music he writes and the lyrics written to them. Now he is able to say 100% of what he’s trying to say. He’s saying a lot, and it’s amazing to witness such deeply personal and touching moments in one man’s journey through grief. His set was a beautiful and thought-provoking experience.

Set list: Eremite, Gone, Fractal, Deep Guilt, Breathing, Don’t

I.X.XI’s first album is out soon, with mixing and production by Brant Showers of Bestial Mouths and Sølve.

https://ixxi.bandcamp.com/releases

Bellhead

Bellhead’s website tagline reads: Post-punk male-female duo band. Two basses and a drum machine. No Guitar, No BS. MADE IN CHICAGO. This description fits them to a T, but there is so much more to discover with this band. Bellhead has a sound that bursts from the stage with incredible energy, all led by a down and dirty grunginess that is both refreshing and grounding. Add to all this a lyrical and vocal playful seriousness and you’ve got something very special indeed.

Having both been in the scene and playing in multiple other bands for years (even in the same band at different times), Karen Righeimer-Schock and Ivan Russia decided to start Bellhead three years ago after getting drunk over some chicken shawarma during a snowstorm.

Their doubling of the bass works beautifully as the core of their sound. As Karen explains, she takes care of the low end, while Ivan takes care of frills and chords, sometimes acting like a guitar or synth (though Ivan took issue with such a slanderous notion). She continues by saying that while she handles the lead component, Ivan handles the rhythm. These factors were on full display during their incredible set.

Early in, they ripped into Mercy, a sexy throbber anchored by heavy riffs. Karen says that they encourage people to bring their own ideas to the songs, and this one shows off their more serious lyrical side.

“Hold back my dreams/I don’t want to wake up/Trade in tomorrow for yesterday/Ain’t got a prayer left to say”

These hit you later, as you absorb the fact that the words are just as intense as the gorgeous and grinding music.

There are moments of levity and fun as they engage in brief and playful bass interactions onstage. Their general playfulness with lyrics comes into full view on their hit, Unicorn Bones, which, to my mind, is an instant classic (and a lot of press agrees). A menacing romp, it is an incredibly danceable song while boasting lyrics that keep you wondering what is happening long after the song is done.

Though Ivan says he tries not to think about it too much while writing them, their lyrics are clever and very different. Throughout the song, they play with things or ideas that together mean nothing, as the title itself shows so well.

“Bring me the necromancer, the alchemist, the topless dancer/with the bones of a unicorn, you’ll never be alone/… on deaf emotions hands resist me/she feels the spirit, yet the spirit doesn’t move me/like good intentions with broken glass/she turned from pale to blue as death came so fast…”

Their set is thrilling—with a sound so comforting to any lover of 90s alternative—yet so totally unique and perfect for this era. As Ivan explains, “We come from rock and roll, the programming element comes last.” Bellhead are an exciting mix of rock and roll and post-punk at its very best.

Setlist: Mercy, Fire Control, Bad Taste, Frankenstein, Sidewinder, Snuff Film 1974, Into the Deep, Runaway, Apathy, Nothing as it Seems, Unicorn Bones

https://bellhead.bandcamp.com

AL1ce

Seeing L.A.’s Al1ce live is a study in joy. Not just a band, but also a self-described tribe, Al1ce brings together six incredible musicians to create a world all their own. On this tour, they’re featuring songs from their upcoming two-part album, As Above (due out 10/22, with As Below following after).

From the moment they began with End of Times, they exuded a combination of gratitude and elegance that I’ve never seen in a band. You also immediately notice their striking visual aesthetic, all draped in stylish versions of apocalyptic garb, faces painted in signature battle paint, all created by band member Sasha Travis. As she explains, they want to present not just as a musical but a visual unit as well.

Singers Tash Cox and Sasha Travis weave soft and beautiful vocals throughout the songs, sharing leads and harmonizing. With the incredibly talented Gordon Bash on bass, keys, and vocals, Steve Kefalas on drums and percussion, Scott Landes on guitar, and Carl Garcia on keys, the band creates an aural and visual experience that incorporates all the dark and light that post-punk can offer.

A band in the traditional sense first and foremost, they began with Tash and Gordon at the Musicians’ Institute in Los Angeles, and have morphed and grown in the years since then. Having been unable to perform during lockdowns, they switched to regular streaming of live performances and used the opportunity to “fill out the songs” as Scott explains. And full, and lush, they are. This is on display most strikingly in Breathe. A darkly seductive and soothing song, Tash, Sasha, and Gordon add Middle Eastern improvisation to their vocals and the luxuriant melodies and throbbing beat. The song builds toward a joyful celebration of unconditional love.

And the celebration continued, with Sasha at one point jumping from the stage to ask the audience to join in a communal bashing of a cymbal, all to a throbbing industrial beat. It was a cathartic and extremely fun moment.

But Al1ce are not all dreamy and joyful… They can pivot to righteous anger on their cover of Björk’s
Army of Me, followed later by the exciting For Dead. Led by Tash’s soft berating of an antagonist, the chorus explodes with rage and Scott’s powerful guitar riffs. The song shows off everything that Al1ce
is capable of.

Ending the set with the hopeful Love is Forever, the band has shown why they’ve got a thriving and loyal following among their Mad Hatter Army. This band loves what it’s doing, and really understands how to build a world and leave a lasting impression on an audience. Most importantly, they understand how precious live performance opportunities are.

As Tash explains while thinking on the lockdowns bands have had to endure, “I’m continually grateful, how amazing it is to play live… it’s something we’ll never take for granted.” In a musical scene that favors regular displays of angst and cynicism, Al1ce are a charming breath of fresh air. This photo sums up their general vibe quite well.

The members of Al1ce stand outside The Crucible.

https://ilikealice.bandcamp.com/

Podcast: Play in new window | Download

Patriarchy and Pixel Grip: The Spring Smackdown Tour, Crucible, Madison, WI

on May 25, 2022May 26, 2022 By ladyspythenight

By Jenny Wilson

The power of a fierce front woman of a darker bent is a sight to see and a joy to hear. To be able to see two in one night, backed by amazing bandmates, is a rare treat. That’s what occurred at Crucible, in Madison, WI, on a recent spring night in April 2022. Pixel Grip and Patriarchy dueled it out with full sets, supported by the lovely Previsions.

Patriarchy

Patriarchy (bandcamp.com)

From the moment Patriarchy’s Actually Huizenga stepped on to the stage, a huge American flag hanging upside down behind her and bandmates, something very special began. Actually’s stage presence is incredibly self-assured… she exudes the sensual confidence of a prowling cat surveying its prey. Actually and her bandmates, The Drummer and The Guitarist, presented a collection of delicious fever dream songs focusing around their album, Asking for It, which was co-written by Actually and Andrew Neams
of 3Teeth.

Their sound is a mad trip through heavy darkwave industrial melodies led by industrial drumming and guitar riffs. At the helm is Actually, a once wailing then airily purring siren with a gorgeous mezzo soprano voice that gives her full control over the room.

Actually clearly doesn’t suffer fools… and her lyrics show a woman fed up with the system and the dehumanizing moments we are still forced to navigate as women, and human beings, in the 21^st century. Their set was sexy, knowing, while carried by a refreshingly feminist bent harnessing the anger and frustration of women who exist, struggle, and flourish within and despite of the basic tragedies of our world. Songs like the titular Asking for It and Sweet Piece of Meat showcase all the dark sexual energy one could ask for. The song, Don’t Fuck the Drummer, was a moment of great fun. The following videos, clips from Sweet Piece of Meat and new single, Lockjaw, show the capture the energy of the Patriarchy experience.

A moment from Sweet Piece of Meat

A moment with the Lockjaw chorus

Pixel Grip

Headlining were Pixel Grip, a fast-rising trio from Chicago. The band is made up of Rita Lukea on vocals, Tyler Ommen on drums, and Jonathon Freund on keys. A vocal improvisationalist, Rita commands a voice so uniquely beautiful it is hard to think of exactly how to describe it. Having been classically trained, Rita takes her voice in and out of tones and characters with extreme confidence, all the while presenting a playful, at times even jazz-scatting, flair. This was the second visit to Crucible to support their second album, Arena, since the reopening of venues began in summer of 2021. They describe their style as a collection of “avant pop, EBM, and minimal wave” (pixelgrip.com). The various genres melt together beautifully and, just like the previous year’s visit, made the crowd extremely eager to get their bodies moving.

Pixel Grip (bandcamp.com)

Rita is a powerhouse onstage, cutting a commanding figure while expressing a muted rage couched in cool tension. This was especially true on Alphapussy, a royal reclaiming of femme power. She works the stage with an expressive knowing that embraces all the weirdos convening to escape the realities of the world. They know that she, and Pixel Grip, will tell it like it is.

Pixel Grip kept the bodies moving with massive club hits like Demon Chaser and Soft Peaks, as well as the powerfully touching Double Vision. Few bands today can produce such incredible club ragers and delicate ballads on the same album. But then few bands are Pixel Grip.

A moment from Dancing on Your Grave

If you are lucky enough to have either band come to do a show anywhere vaguely near you, get tickets immediately. Neither band should ever be missed.