{"id":2875,"date":"2011-05-04T14:43:22","date_gmt":"2011-05-04T18:43:22","guid":{"rendered":"http:\/\/existest.org\/ee_v3\/?p=2875"},"modified":"2011-05-04T14:43:22","modified_gmt":"2011-05-04T18:43:22","slug":"m-ax-noi-mach-live-22511-review","status":"publish","type":"post","link":"http:\/\/existest.org\/ee_v3\/?p=2875","title":{"rendered":"M Ax Noi Mach Live 2\/25\/11 Review"},"content":{"rendered":"

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Article by Ian Duncan-Brown, video by Rat Chasinil<\/strong><\/p>\n

Several inches of snow didn\u2019t deter the usual reprobates from attending Friday\u2019s noise show at the Starlab in Somerville. Shane Broderick set the evening in motion with a seething, taut power electronics set. Surprisingly melodic synth patterns underscored the brutality of Broderick\u2019s vocals, and his brief performance featured an element of control and precision sometimes missing from his previous ensemble, Two Dead Sluts. The set created an unsettling level of tension as melody gave way to gusts of harsh noise, and I noticed some audience members bracing themselves and taking cover \u2013 shows by Broderick\u2019s former group often degenerated into fistfights and unpleasant confrontations. Shane kept his hands to himself, however, and his live performance closely resembled his excellent 2009 CD release under the name Corephallism.<\/p>\n

Karlheinz, another local practitioner on the bill, spent much of his set hunched over his mixer in search of suitably bludgeoning frequencies, but he made sure to wade into the crowd and throw his weight around as he bellowed the lyrics to his industrial power electronics anthems, including a paean to the size of his own cock entitled \u201cPacking.\u201d Mr. Giesing has consistently shown his ability to replicate his material live; his arrangements incorporate the meat of his catalogue \u2013 lyrics and structures \u2013 while allowing room for on-the-spot improvisation and spontaneous sonic assaults. Karlheinz has been active on the Boston scene longer than most fans and performers, and my only criticism is that he ought to release records more often.<\/p>\n

Mark Lord changed the tone of the night \u2013 he played a rhythmic set more akin to minimal techno than noise, although his analog equipment fit the vibe of the evening and tied him to the aesthetic preferences of the scene. Unlike the rest of the performers, he eschewed vocals, a change of tactics compared with the last time I saw him play; likewise, his live material was noticeably more rhythmic and melodic than his recent LP, and I\u2019ll be interested to see if he continues in this direction. The real gem, however, was a zine entitled City-Hunter that I found on Forgues\u2019 merchandise table. \u201cJust some stupid stuff,\u201d he remarked \u2013 the pieces in this magazine range from conventional comics to Rorschach blots, and there\u2019s even a glossy photo of a guy pissing on a manhole cover. If that doesn\u2019t sell the average noise fan, nothing will.<\/p>\n

M Ax Noi Mach\u2019s performance was the best of the evening. He juxtaposed aggressive vocals with brooding electronic instrumentals reminiscent of mid 90\u2019s Pan Sonic material, and it was obvious that he\u2019d carefully rehearsed his set, an observation borne out by his incredible 2010 LP, In the Shadows, which I picked up at the show \u2013 he presented a fair number of those songs live in similar form. The slamming instrumentals and controlling, possessive vocals justified his headliner status and induced sheer jouissance in this reviewer \u2013 as I marveled at M Ax Noi Mach\u2019s musical and conceptual potency, I took a mental journey through the industrial landscape and lineage and felt honored to document its present incarnation.<\/p>\n