Entries tagged with: Cut Hands
Godflesh @ Irving Plaza 4/10/2014
There is no way I can adequately describe how stoked I was to see the Godflesh tour at Irving Plaza last night (4/10). I was nearly catatonic with frenzy; exhausted from excitement and impatience for the show. Since about 1991, Justin K. Broadrick has been a personal hero of mine. Through all of my musical and personal-stylistic phases, from metalhead to poseur punk to hardcore dork to rude boy to skinhead to motorcycle enthusiast, Justin K. Broadrick and all his various projects are one of the few things I have carried with me lo these many years. My first and only time seeing Godflesh was as a 13 year old, 70 pound, pint-sized mullet head in 1992 at the now-defunct but endlessly important Club Babyhead in Providence Rhode Island. That show was in the days before I even remotely considered wearing earplugs and will go down in history as the loudest, bassiest experience of my life. I remember having to retreat to the back of the room because the bass was vibrating my body so bad I wasn't sure if I'd end up puking or crapping my pants. I regret passing up every subsequent opportunity to see Godflesh, so last night -- which itself was postponed from October -- was years of waiting come to fruition.
Now that Godflesh is a completely independent entity and no longer bound by the whims and oversight of a label, the two opening acts felt more carefully curated than obligatorily tacked onto the bill. The first opener was Pharmakon, a one woman onslaught of industrial dirge and ear splitting terror. The brainchild of New York City native Margaret Chardiet, Parmakon was a very crowd-polarizing act. Pharmakon plays extremely loud and chaotic beats and textures accentuated by Chardiet's brutal, from-the-guts screams. Some people were clearly not impressed. For me, though, it was a phenomenal experience. I watched her set with my friend Kurt aka Submerged aka the guy who owns and operates OHM Resistance, and we were both floored. She isn't for everybody, but it sure as shit tickled the fancies of me and Kurt. Her set seemed really really short, and when I saw her afterwards I asked why her set was so short and she said she was having some technical difficulties. And that's too bad. I could have listened for hours.
After a brief intermission, the next act up was Cut Hands, a one man electronic act featuring legendary noise master William Bennett. For the uninitiated, Bennett founded Whitehouse in the UK in 1980, a band who was at the forefront of the experimental and noise scene for 27 years before finally disbanding. Although known as a godfather of noise and experimental music, I found his set last night to be extremely cohesive and easy to get hooked into. It was sort of a bastard child of classic-era Underworld with a dash of darkness, violence, and physical abuse. Accompanied by a series of incredible projections, his semi-dancy set had the entire room transfixed and, I don't know, sort of.... dancing? As dancy as a sausage-fest can get I reckon. But people were way into it. I was way into it. The inclusion of Cut Hands by Broadrick was such a great nod to the era when Broadrick was starting to bloom in the Birmingham underground scene with bands like Napalm Death. I feel lucky to have been able to witness such a master at work.
After Cut Hands and what had to be the easiest and fastest stage changeover, two-man sonic powerhouse Godflesh took to the stage. As the house lights dimmed and fog began to rain down from the heavens, Broadrick and Green turned up their guitars and filled the room with a growling, feedback laden wall of sound that lasted for about three minutes. Suddenly a projection appeared at the back of the stage, a programmed cymbal counted off 4 beats and then... KABOOM! Godflesh exploded into one of their most legendary tunes "Like Rats." I thought the place was going to implode.
Let's face it; I am a dork with a penchant for nostalgia. When I say I was anticipating this moment for years, I am not exaggerating. That opening explosion of Like Rats signaled the arrival of one of the most important shows of my life. And the setlist they put together was plucked straight out of my dreams. "Christbait Rising," "Streencleaner," "Spite," "Mothra," "Avalanche Master Song," "Defeated," and "Crush My Soul" all made the playlist of the evening. The technologies the band uses has changed considerably over the 20+ years since I last saw them, but the crossover has not changed Godflesh's signature sound one single iota. Benny Green's bass tone is as crushing as it ever was. All the beats sound exactly as they did all those years ago, and Broadrick's vocals are as devastating as ever. A video of "Like Rats" from last night, plus pictures from the whole night, are below. Unfortunately, Godflesh live is really only adequately experienced... well... live. No video could possibly capture the volume and uber-heaviness of their performance. Last night's show was a flawless triumph. End of story.
If you need more Godflesh, be sure to tune into Invisible Oranges show on East Village Radio this Tuesday (4/15) at 10 PM EDT where they'll air an exclusive interview. In the meantime, more pics and video from Godflesh's Irving Plaza show, below...
by Wyatt Marshall
Pharmakon at Drone Activity in Progress, May 2013 (more by PSquared)
NYC's noise beast Pharmakon just played a hometown show at Trans Pecos on Wednesday (1/29) (how was it?), and now she's got more dates coming up too. If you haven't been able to catch her obliterating a showspace recently (or just need to see her again), you'll have at least two more chances to see her in her hometown in the upcoming months.
She'll be adding support to a few dates on the previously mentioned and long-postponed Godflesh tour, including the NYC show happening at Irving Plaza on 4/10, which will also feature a performance by Cut Hands. Tickets for that show are still available, as are tix for the next two nights in Philly and Boston.
Much sooner than the Godflesh tour, you can catch Pharmakon at Baby's All Right on February 18 with Helm, Damien Dubrovnik (the risqué synth/power electronics project featuring Loke Rahbek of Var, Sexdrome and Lust for Youth), and Three Legged Race. Tickets for that show are on sale now.
Pharmakon's forged an alliance with the Posh Isolation world, it seems, and will be touring Japan with Var, Lust for Youth and Croatian Amor. Those will be cool shows--Japanese readers, get on it.
All dates are listed, along with a song stream, below...
by Fred Pessaro
Cut Hands, the latest venture from William Bennett of noise terrorists Whitehouse, begin a North American tour this week. The close-to-two-week stint will cherry-pick cities on the continent, hitting Chaos in Tejas along the way, but things kick off with a show in NYC at Public Assembly on Thursday (5/30). Believer/Law, Azar Swan and Horoscope get credited with the assist, and tickets are still available. The dates are in anticipation of Bennett's Madwoman LP due on Downwards "soon," though further details remain hazy.
Four days later, you can catch Believer/Law again in the same space, this time with Alberich, Winter Line, Belarisk and Temperature Within. Tickets are available at the door for this June 4 show at Public Assembly.
All Cut Hands dates are listed, along with a few song streams, below.
John Baizley at Union Transfer (more by Maclyn Bean)
Baroness, Bitter End, Coliseum, Culo, Cut Hands, Soul Search and Waste Management are the latest batch of additions to the 2013 iteration of Chaos in Tejas, joining names as varied as Bolt Thrower, Manilla Road, Terveet Kadet, Framtid, Andy Stott, The Marked Men, The Damned, The Bats, Iceage and many more. The fest happens May 30 - June 2. Full lineup is below and tickets are still available.
In addition to the festival, Chaos in Tejas will ALSO host at least a pair of shows during SXSW including an unofficial show at Beerland on Thursday night with Blundertown (3/14) featuring Wiccans, The Spits (who play the BV day party on Thurs), Off with their Heads, Waxahachee, Meat Market, Virals and Rough Francis (who also play a BV day party). Then look for Chaos in Tejas to split Red 7 along with Relapse on Saturday 3/16, bringing along another eclectic lineup that includes Iron Lung and Big Freedia. Wow. Flyers are below.
As mentioned, John Baizley of Baroness plays his ONLY solo show at North Door on 3/16, part of the Invisible Oranges/BrooklynVegan official SXSW showcase.
Chaos line-up and SXSW flyers below...
The Faint at Webster Hall in 2009 (more by Tim Griffin)
The Faint are currently on tour celebrating the 10th anniversary of their album Danse Macabre. The party hits NYC on Friday (12/7) at Terminal 5 with Toronto's Trust and Icky Blossoms opening the show. Tickets are still available.
If you've read the site over the last week or so, you probably know we've been asking a lot of bands and artists to contribute year-end Top 10s (like Animal Collective who play Terminal 5 twice this week), and here we've got ones from both The Faint and Trust. The Faint did a collective list of favorite LPs and were only able to whittle it down to 12, including albums by Liars, Actress, Twin Shadow, Grimes (who did a list for us too) as well as both of their current tourmates. Check out the full list below.
As for Trust, main man Robert Alfons lists his 10 favorite tracks of 2012 and the top three spots all go to the same artist. Any guesses who? Don't forget that Trust will DJ late night at Glasslands on Friday (12/7) after their T5 show. Black Marble will play live and tickets are still available.
The Faint and Trust's 2012 Top 10 lists are below.
photos by Erez Avissar
Since the late-'70s, WILLIAM BENNETT has released and performed extreme noise and industrial music. He played guitar for sax-driven post-punkers ESSENTIAL LOGIC in their early days and formed an industrial group named Come, who are now remembered for their alumni (including J. G. Thirwell a.k.a. Foetus and Mute label head Daniel Miller) rather than their output. In 1980, Bennett's project WHITEHOUSE released their first two, Birthdeath Experience and Total Sex, LPs that marked the end of industrial's first wave and heralded a new genre -- extreme noise -- built with shuddering, arrhythmic bass-rumbles and probing feedback assaults. [The Phoenix]Cut Hands, William Bennett of Whitehouse, has completed his round of US dates including a show on 2/24 at Public Assembly in Brooklyn. The show, which also featured appearances from Xeno & Oaklander, Pop. 1280, Veiled, & David E. Williams in addition to DJs Pieter Schoolwerth, Caleb Braaten & ning nong, was the second-to-last stop on his US round of dates that kicked off earlier in February. Pictures are in this post (though no photos of either Veiled or David E Williams).
In related news, Liz Wendlebo of Xeno & Oaklander serves as half of Liz & Laszlo, a band also comprised of Automelodi's Xavier Paradis. L&L are preparing to release the Rien ˆ Paris single via Wierd Records and you can stream it at Pitchfork.
Catch Xenu & Oaklander again this weekend when they help pay tribute to Fad Gadget.
More Public Assembly pictures below..
Cut Hands, who you may know as William Bennett of power electronics juggernaut Whitehouse, will play a select set of shows in the US in February. The tour, which mostly focus on the East Coast/Midwest, will kick off in Los Angeles on 2/14 (how romantic!) and eventually make its way to Brooklyn's Public Assembly on February 24th. The show will also feature appearances from Xeno & Oaklander, Pop. 1280, Veiled, & David E. Williams as well as DJs Pieter Schoolwerth, Caleb Braaten & ning nong; tickets are on sale.
Meanwhile, power electronics, noise and the avant garde are the focus of the ongoing Hospital Productions curation at The Stone. Tonight (2/3) the space will welcome Hell Hoarse and Luke Moldof + Reuben Son.
Check out a version of Xeno & Oaklander's "Sets & Lights" recorded in London last July , alongside all tour dates below...