Setlist:
Escape From Alexandria (st play live), Magic, We Walk A
Line, I Cannot Play These Games, Collapse in Slow Motion
(Velvet Condom cover), Deceive A Believer, Cry, Cry, Cry
(first play live), To Hell and Back
Photos [L-R]: Black Light Ascension x 2
I've a genetic weakness for the mighty Black Light Ascension - the project
created by Aussie-born, London based Andrew Trail. And it
had been far too long since I last saw them live.
Less than one minute in and I'm back in the
dystopian groove. BLA are one of those few acts, like
early Sisters of Mercy, that are SO distinctive and SO
damn good. The combination of mechanized rhythms and angular
guitars is utterly compelling. No one else sounds quite
like them, and they don't sound quite like anyone else
either. Sure, there's the faint echoes of influences, and
a passing mention of Joy Division remains valid. But
appearance wise, Trail has turned into James Ray. And it
suits him.
The expanding audience was well up for it too.
Screaming young women down the front, roars of approval
between songs and screams (of a positive nature) during
them. Encouraging (and satisfying) to see such a
challenging sound drawing fresh, young blood into the
scene. Personally, their 2011 debut Ashes remains the pinnacle of their
recorded work to date and although only one track from
that appeared this evening (the set closing The Dream),
I remained transfixed throughout.
The sound mix could have been better. Admittedly
I was right in front of the stage, but the monitors seemed
particularly loud, and yet the drum pad was barely audible
at times. Still, despite these minor technical issues the
songs and performance still won out. The psychedelic The
Dream was a magnificent hypnotic conclusion to their
set.
Setlist: Dark Angels, Night Came In, Journey,
Melancholia, Black Sun, The Dream
Photos [L-R]: Attrition x 2
To have both Black Light Ascension and Attrition,
who now took over the stage, back to back on the same
bill was genius synergy. Both create a trance-like
hypnotic state in me - something I crave when hearing
live music. One of my most-seen live bands over
multiple decades now, and as enticing as ever, you
never quite know what to expect from Attrition live.
And tonight was something a bit special.
In a touching tribute to former member (and
wife of founder Martin Bowes) Kerri, who shockingly
passed away all too young at the start of this year,
tonight's set was based on a soundtrack the two of
them composed a few years back for Invocation,
a horror film. There was live improvisation on top. In
fact, the last show Martin and Kerri did together was
to perform the soundtrack at a festival in the
mountains of Transylvania. I'd never heard it, so the
next 45 minutes was an unexpected journey of
discovery.
In a nice connection with the band's origins,
Bowes was joined on stage tonight by Richard Woodfield,
who was in the band when they put out their first album This
Death House way back in 1982.
The ambient start had me thinking of James Ray
again and his Peru4060
project. Bold, brave, almost confrontational in its
style, this felt like an appropriate homage to the lost
soul of Kerri Bowes. Martin moved from keyboards, to drum
pads, to an Akai Ewi wind MIDI controller plugged into a
synth via effects pedals. The latter not always appearing
to behave as it should, causing him to look a little perplexed at times.
Woodfield played synths throughout, just as he had
all those years ago.
Behind
the two of them for the duration ghostly images of
Kerri were projected. It
seemed like Martin was working something out live on
stage. It must have been profoundly personal for
him. This was a deeply moving
combination of black and white projections and troubling
soundscapes, and unlike any other Attrition gig I have
ever been to.
By the end, with those images of Martin and Kerri
performing together, it was heartbreaking to watch. Only
Martin knows what he must have felt like, but even for the
onlooker, this was sublime beauty packed with trauma and
loss.
Photos [L-R]: Sidewalks and
Skeletons x 3
Finally came headliners Sidewalks and Skeletons,
marking a dramatic shift in pace and tone after
Attrition’s sombre set. S&S is the solo-project of UK
artist Jake Lee, who grew up playing guitar in metal bands
before gravitating towards creating dark electronic music
starting in 2006, making Sidewalks and Skeletons his main
(solo) project by 2011.
The sound incorporates elements of witch house,
trance, horrorsynth, goth and out and out rave and is
frequently instrumental. Even when lyrics are used, the
voice is usually buried so deep in the mix that it’s easy
to miss it.
But, two minutes into the set, we were all
blinded by the light, and I knew precisely what the rest
of the evening would bring. At this point in the night,
the audience had somehow gotten younger than at the start
of the evening. And this predominantly youthful crowd was
lapping it up, with plenty of arms held high, bouncing and
whooping.
Lee efficiently delivers the goods but live it
largely feels like fast food music to me. His older, more
ambient stuff, I can listen to at home, but even that I
think would struggle to engage in a live setting.
Sometimes it’s just like that. A few tunes and breaks here
and there made what could have been a relentless onslaught
a bit more nuanced. And the witch house vibes remain the
most interesting.
So while not the ideal conclusion for me
personally, the whole event was yet another terrific Flag
promotion. Exposure to Jenna Leigh-Raine, renewing my
acquaintance with The Frixion, then witnessing the
powerful combination of Black Light Ascension followed by
Attrition (a combination I hope to experience again), who
am I to complain because the final act didn't suit my
proclivities?
Keep carrying that flag. We need you now more
than ever. 8/10
Review + Photos: Rob Dyer