Apr 2014 23

Underworld, London, UK 02/20/2014
 
Aesthetic Perfection - Live in London, 2014

 

None of the artists that set out to demolish Camden’s Underworld on the surprisingly warm night of February 20 are newcomers to the scene; in fact, they all come with a hefty baggage of scenic experience. What transpired in London was a precise, calculated, and powerful electro blitzkrieg that benefited immensely from the sheer force of the combined sonic boom. Both Aesthetic Perfection and Faderhead were promoting their latest, fresh off the press releases, while the Spanish Terrolokaust was still celebrating the success of last year’s Spit the Poison Out, making this night exciting and unpredictable with the all time favorites and the brand new tracks mixed together like a fine, fiery musical Molotov.

 

Terrolokaust opened the show to a good sized crowd that gathered in the venue early. There were no performances that anyone could allow themselves to miss that night and the trio delivered a sharp, energizing set that consisted of an abundance of tracks from the last release. The energy of tracks like “Pointless,” “Reasons,” and “Scars that Never Heal” immediately reinvigorated the audience. Surprisingly enough, Terrolokaust’s highly danceable songs transformed into equally infectious but far grittier compositions thanks to the abrasive textures of the roaring guitar. The melodic vocal combined with the obvious power of the heavy beats made for an impressive display of talent and the closing cover of KoRn’s “Falling Away From Me” instantly resonated with the listeners.

 

With a digital clock counting down minutes and seconds to Faderhead’s arrival, there was very little time to catch a breath. Germany’s Mohawk-sporting master of electro performed without the hospitalized The Lord (XP8’s Marco Visconti), but with Karl providing the backdrop of the synthesized musical energy, the crisp and pounding set list did not disappoint. Despite his leisured outfit, Faderhead was in total control over the frenzied audience and with the opening moments of “Stand Up,” the first single from the new record Atoms & Emptiness, he successfully awoke the most primal instincts within the raving fans. As expected, some of his most recognizable stompers helped entertain the dancing masses. “TZDV,” “Fistful of Fuck You,” and the genre defying “Dancers” were all part of the electro offensive that continued for some 45 minutes amid the continuous banter from Faderhead himself, who without much reservations kept sharing his bottle of vodka with those closest to the edge of the stage. The few brief moments of melancholy came from the relatively restrained and surprisingly melodic “Champagne and Real Pain” that, coupled with the straightforward but uncompromising intensity of “When the Freaks Come Out,” showcased not only the scope of the new album but also its technical prowess and maturity. Faderhead might have been determined to see his audience dance and twitch, but the choice of the tracks was eclectic and thoroughly satisfying.

 

The sudden entrance of Daniel Graves, Tim Van Horn, and Elliott Berling warped the restless audience into sudden overdrive and the set took off immediately amid the shrieks of admiration and the declarations of love from the female part of the audience. Not many contemporary industrial artists (broad as this genre staple may be nowadays) embody so fully and so convincingly the idea of the musical stardom, the charisma and the musical backbone that together energize men, tantalize women, and bring everyone to the verge of a musical orgasm. Indeed, the show that Aesthethic Perfection pulled off brought upon many this state of palpable energy overdose and the non-stopping proximity of the band to the frenzied crowd provoked escalating waves of excitement as each of the act’s strongest hits played out. In between the mandatory classics from the band’s catalog like “The Ones” and “Inhuman,” Graves provided a good peak into his newest release, ‘Til Death. The singles from that album were already firmly embedded in the audience’s physical memory and “Antibody,” “Big Bad Wolf,” and “The Dark Half” were all warmly received alongside the new and potential favorites “Lights Out (Ready to Go)” and “The New Black.” The dominance of the fresh material shaped the general mood of the set showcasing the direction of the band’s steady evolution, from the oppressive intensity of EBM to the approachable, emotional tone of dark pop. There was no resistance from the audience to this new facet of Aesthetic Perfection’s music and it was truly encouraging that London’s aficionados of industrial, goth, and electro/alternative were so easily swayed and ensnared by the perfectly balanced mélange of well crafted sounds and melodies.

 

Unfolding over the course of three hours, the show did not disappoint and with the electricity cutting through the pounding dance floor, it seemed that all of the heavenly industrial spotlights were focused on Camden’s Underworld; and rightfully so. Whoever masterminded the 2014 tour of Aesthetic Perfection, Faderhead, and Terrolokaust did a hell of a job, bringing under one roof three masterful acts that not only rocked in their own respective rights, but together created a show of infinite reinvigorating electronic excellence.

 
Damian Glowinkowski (DamienG)

 
Aesthetic Perfection

 
Faderhead

 
Terrolokaust

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