Since coming off tour in 2023, LA’s Fact Pattern have been whetting our appetites for new material by releasing two singles a month apart.
Firstly, Never Bleed, released in April, is a postmodern love song that starts with a pulsating beat and builds melodically on the strength of Ian Flux’s vocals. Fact Pattern has never been afraid of powerful beats, but they seem to have raised the ante, courtesy of drummer Corey Hirsch and bassist Jack Lowd. With top-notch production formed with a keen ear for clarity and atmosphere, Never Bleed is a hard-hitting track that doesn’t sacrifice melody for the sake of heaviness.
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Next, Incompatible is a mid-May release that takes a fish-out-of-water look at the world: How does your faith jibe with reality, if at all? Fingers are pointed at religion, saying that one’s own personal beliefs may not be the panacea needed to make sense of life.
Musically, percussive synths carry throughout the track juxtaposed with hard guitar riffs played at a comfortable tempo.
Fact Pattern is chumming the waters in preparation for a new full-length release in the near future. If these two tracks are any indication, the next release is expected to be a tour de force for the band and a satisfying delight for fans.
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.
Photo courtesy of DMNX.photo
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.
Photo courtesy of DMNX.photo
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.
Photo courtesy of DMNX.photo
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.
Photo courtesy of DMNX.photo
“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:
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.
Photo courtesy of DMNX.photo
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.
Photo courtesy of DMNXphoto
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
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.
Photo courtesy of DMNX.photo
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.”
Photo courtesy of DMNX.photo
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.
Photo courtesy of DMNX.photo
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
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.
Photo courtesy of Jen Wilson-Farley
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!
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.
Photo courtesy of Jen Wilson-Farley
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
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.
Photo courtesy of Jen Wilson-Farley
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.
Photo courtesy of Jen Wilson-Farley
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)
When “Wish” won the Best Metal Performance Grammy back in 1993, he was bewildered at the fact that a song with the phrase “fist fuck” in it, to the point where he hopes that such an accomplishment is featured on his epitaph. The song is on a short list of the most recognizable tracks by the industrial rock giants, which also makes it one of the most often-covered of the band’s catalog. Now the folks at the O’Keefe Music Foundation have assigned a section of their students to perform a radio-friendly version of the Broken-era classic.
The Lebanon, Ohio-based nonprofit provides free music education to children, as more and more public schools cut their music and arts programs. Since their inception in 2006, over 1,000 of the foundation’s students have been featured in over 100 different music videos, covering all manner of music genres. The ages of the kids in this video range from eight years old (keytar player Brackston Applegate) to eighteen (drummer Will Bright), with ten-year-old Zoe Franziska assuming vocal duties.
And before you ask, no, none of the song’s three F-bombs are uttered, with the latter turned into “fist pump,” a far more fitting expression for the birthday party-themed music video. For a yearning and nihilistic tune, the music video is tongue-in-cheek funny, particularly when singer Zoe’s more aggressive vocals come in. She does well, mind, but a preteen girl singing about “on my way to Hell” is going to get a chuckle out of some no matter what.
Check out the music video below, and learn more about the O’Keefe Music Foundation at their website.
Year two of Small’s in Hamtramck’s Fixation Festival happened this past weekend. For the second year in a row Mike Mouyianis and Kat Paled put together an epic bill of legacy/modern darkscene talent both locally and around the country. This city has always celebrated a rich musical culture from Motown, Iggy Pop, The MC 5, techno’s holy trinity, ADULT, along with a slew of new talent in the current wave. Small’s cares about and celebrates artists, while running a tight ship that respects fan’s time. The venue is intimate with a great sound system and professional technician that knows how to communicate and bring out the best in the wide variety of acts. Having the stage and merch in one room, another with the bar for cooler temps, quick service, and a large video screen showing the stage at a volume you can talk over makes for a best of both worlds. Sometimes you want to be right in the action. Sometimes you want to share a moment with friends, making a personal connection with the bands. It has the Cold Waves “goth summer camp” vibe with a smaller more relaxed venue.
I’m going to fire off some quick impressions from of all the bands. Some that are long time favorites, some I saw for the first time. I’ll also include photos from the amazingly talented Jen Jeffery who really captured highlight moments from both nights.
Helix – Starting out Friday night strong was the married duo of Mari Shear (Day Twelve, Mari & The Ghost) and Tom Shear (Assemblage 23) firing off blistering electropop with Mari’s powerful, smokey delivery. Her stage show was captivating and serpentine. A beautiful way to set the tone for everything to come.
Rosegarden Funeral Party – Next up was Dallas TX dark rockers Rosegarden Funeral Party who I had previously reviewed for albums and singles. I had never seen them live, this became my favorite surprise of the weekend. Sometimes you really need to see the live show to get a full appreciation of a band. Leah was this glorious guitar sheading silver beam of light belting out lyrics with breath support to do Aretha Franklin proud. Thunderous live drums really his home the organic dark rock roots to give the impression of a wailing full band with only two people. I became an instant fan for life, can’t wait to dig into the new album “From The Ashes” available on bandcamp now.
ego likeness – I remember looking over to Collin right after Leah absolutely obliterated that stage and saying “I feel bad for whoever has to sing after her”. Then I saw it was Donna and went, never mind it’s Donna, she will be fine. With everything Donna and Steven have going (Poetry, Painting, Stoneburner, Audiobooks) sometimes it feels like Ego Likeness shows are a rare and glorious treat. Rick and Mike were here on stage to give the full experience of powerful percussion, wet crunching swamp riffs, and luring siren vocals. There is a reason Ego Likeness has stood the test of time between goth resurgences. Another call out from this performance, you can always tell a special band by how they react when something goes wrong. Tech issues happen, you can either let it under your skin, and lose focus. Or you can let the audience feel like they are a part of the inner circle, pop forward, and hit a higher level than you were when something went wrong. This is what the greats do.
Bootblacks – This was my second time seeing the reinvented suave dark Italian disco Bootblacks sound and they have dialed it all the way in. I’ve seen a trend of bands moving towards this sound, but I think Bootblacks were the first American’s to the peak. The new single “When You Want” highlights the power of pacing change to create constant movement. Panther’s vocals have never felt more present and sensual. This performance had the whole crowd sweating both physically and metaphorically.
Assemblage 23 – Tom Shear coming back to the stage for a second performance in one night. This marked another band I have listened to frequently but had never seen perform live. FuturePop fell in that middle place where I had given up on new music and got to re-discover recently. Hearing a top tier male vocalist delivering such crystal clarity free of effects is a powerful experience. Sometimes poetic lyrics feel a bit of an afterthought in the modern era. So hearing heartfelt emotive words delivered with a beautiful voice really stands out. I really need to see Tom play again when he is the focus of the night. Tom did promise to do an interview with me soon, so be on the lookout for that.
Night Club – I understand that some traditional goth fans don’t really want to embrace the darkpop cross over in the modern scene. I’m not one of them. Night Club was another band I had only reviewed albums of. On stage, they absolutely brought the house down. Sassy, dangerous, with pristine production, setting the stage for Emily’s undeniable star power. I know it when I see it, Night Club is dripping with it. What a way to close out an epic night one. Another of those bands I implore everyone to catch at an intimate venue like Small’s now. It’s won’t be long before main stream audiences catch on.
Adding this selfie of Amaranth/Stoneburner/Black Rose Burning who will be playing together August 17th in Lancaster PA. An incredible night 1 where we Uber’d back to our Air B & B to crush previously acquired late night food which turned out to be some of the best Thai cuisine I have ever had.
The Love Part – George Grant (Black Rose Burning) once impressed upon me the importance of festivals including some local flavor in the mix. Night two is where Fixation let some Detroit talent shine. My partner Rachel has exceptional taste in music, so when she came running and dragged me to the stage (something she never does) to hear The Love Part I knew I was in for something wonderful. Swelling psychedlicgaze pastel ectoplasm with great charisma from the singer spinning Curesque romantic energy. I spoke with them a bit after and this was an early show for them. I think this project has a high ceiling. I love that Small’s took a chance on them, I love that they delivered in a big way.
Access To Concrete – Another Detroit band that was my highlight surprise of night two. The Stringer brothers put together a full experience multimedia performance that took the best parts of Devo and Front 242 synthesized into chaotic SciFi sonic assault. They had multiple guest vocalists including Steph Strange (Schedule IV) in Nuruto/Tank Girl cosplay and Industrial Alice In Chains. It was fun, it was fury, it left me hungry for more.
LEATHERS – This was another showstopper highlight. The evolution of Shannon to ultrastar status has been a pleasure to behold. Having to do two sets in a night at this level of energy and precision is a feat within itself. This performance was a shooting star sparkling across the stage. Captivating and razor sleek Leather’s brings an otherworldly late 70’s glam energy that leaves you feeling how am I seeing this? It’s too bright, too beautiful to exist on this mortal realm. Last night they played Cruel World Fest on a stage with Duran Duran/Ministry/ect and I can’t help but feel like a dream realized for Shannon is hope for us all.
The Bellwether Syndicate – Chicago darkscene legends that always rock Detroit like they have something to prove. William Faith (Faith and the Muse, Christian Death, Mephisto Walz, Shadow Project, The March Violets) throws the best rock star looks in the biz. Sara Rose and Philly have enough musical pedigree to fill 10 bands. They really create a mythical beast with gnashing punk rock teeth, a long slender synthpop neck, and expansive sharp post punk wings. Moving together in perfect harmony. It always feels like a complete experience, a big deal, every time they play. Vestige & Vigil is such a good album, I had to buy it twice on LP.
ACTORS – How do they do it? How does a band I feel objectively plays one of the best live shows rather in a 300 person capacity club or a festival consistently raise the bar to amaze me? The sound is so sharp, crackling with spirit, engaging the crowd every night until we all leave feeling a part of something special. Some might think I sound crazy saying this, but in 6 short years since “It Will Come To You” Jason’s voice is reaching towards the discussion of all-time greats like Ian McCulloch, David Gahan level of impact. Actors might not have compiled that size of discography yet, but they are climbing towards it at a rate few others in the modern scene can keep pace with.
Also it is the love they show for their fans everywhere. After absolutely demolishing the crowd. Most of the band playing two sets that night. They must have been exhausted. I truly don’t expect folks to have the time and spoons to say hi to every reviewer. So Jason reaching out to have me come to the back for a headlight selfie and to say hello meant a lot. Actors aren’t just a band for a lot of us. They are a movement you are a part of.
Stabbing Westward – I have seen Stabbing Westward several times. 16 year old Ken alone in his bedroom, eyeliner streaking down his face because some girl broke his heart and only Chris Hall could understand. I have never seen SW play 8 feet away from me for 90 minutes spanning their entire catalog in a room of rabid fans. The fact that 1) they took a show in a smaller room to do this festival 2) They brought the energy of 20 year olds for and hour and a half while walking through the crowd and meeting everyone catching the other bands. To have a band with as much impact as they did on me be that down to earth and considerate is such a glorious icing on a face melting show of a cake.
I even managed to keep my cool when I went to introduce myself to Walter, who said “Yes Ken, I know who you are, nice to meet you”. We talked about the modern scene, how much he loved Actors, and how much he still enjoyed doing this. I feel like I maintained my pretend journalistic integrity the whole time my brain went SQUEEEEEEEEEE IM TALKING TO WALTER FLAKUS!!!. Hopefully I will have an interview with them soon and won’t sweat to much while I ask the questions. Overall it was the perfect cap to a perfect night.
Another smashing success in year two establishes that Small’s has built something here. That top talent is recognized and travel out of their way to play with like minds. My head is already spinning with the possibilities of who will be there next year. Detroit is a fun an economical alternative to some of the other big destination festivals. A beautiful diverse setting full of unique cuisine and friendly people looking out for each other. If you have heard mutterings to the contrary, my guess is you are talking to people who saw Detroit in a movie. Not folks who have spent time here. I’ll see you in 2025.
