Live Review: Horror Vacui, Dr Void and the Skinjob’s at Bloc+, Glasgow, Friday 16th August 2024

Italian deathrock punk band Horror Vacui were formed by current singer Koppa and partner Marzia (now on drums) on their return to Bologna after living in a squat in London where they made friends amongst the British capital’s goth scene in the first decade of the new millennium, and although the sound of their four excellent albums to date has been described as “a politicised Red Lorry Yellow Lorry meets The Chameleons”, the project’s commitment to their pure punk ethos continues to this day, as one of the most authentically and overtly political bands on the goth or goth-adjacent scene.

Visiting the UK for a low-key DIY tour for the first time since the release of their outstanding 2020 album Living For Nothing, which unfortunately came out just as the COVID pandemic began, Horror Vacui played their first ever Scottish gig at the uber-cool Bloc+ venue in central Glasgow, a basement bar as famed for its cheap and quality food and beers as for its free music seven nights a week.

Busy at the best of times, the pub was comfortably full of the city’s alternative black-clad youth  on Friday night when support band Dr Void and The Skinjob’s (sic), whose studio releases mark them out as a quirky electro-punk trio strongly influenced by the likes of Devo, took to the stage. Although their vocals/synths, bass and drums line-up gives their sound the raw punky edge of early Kaelan Mikla, in the ‘live’ setting, energetic frontman Gary’s retro synth sounds range from Stranglers intricacy to heavy Daft Punkesque depthcharges, with Billy’s visceral bass driving the songs forward at a frenetic pace. Dedicating new song Rave to the Grave to the “creatures of the night” in attendance, DV&TSJ raced through a short set in which Androids and Polaroids and set-closer Inpatient were the highlights, and their manic enthusiasm warmed up the growing crowd nicely.

Bloc+’s musical facilities are more suited to local talent than to touring cult bands, with a low roof and no raised stage in a room barely twice the size of the average living room, but all five members of Horror Vacui, their trusty dry ice machine and Lucretia’s all-important pedalboard (for that trademark edgy glacial deathrock guitar tone which underpins the entire set) squeezed into the minuscule “stage” space and launched into a powerful version of recent single Distressed, with Koppa’s microphone only inches from the front row of the static, mesmerised crowd. Before the last notes had died away, Marzia hammered out the opening rhythm of an ear-splitting rendition of Forward, with Thomas and Vasu (on bass and second guitar respectively) adding the depth to a sound which is the heaviest and loudest I had heard from a goth band in some time, occasionally obliterating some of the subtleties of both the intricate arrangements and Koppa’s potent lyrics in the early songs.

While he may be well into his forties, Koppa has lost none of his political zeal and songs were dedicated to the people of Gaza and to asylum-seekers as he railed  against the rise of the far-right and recent racist riots in the UK to supportive cheers. Excellent versions of tracks from Living for Nothing followed, with the vocalist wisely opting not to attempt the very top notes of Consolation Prize, My Funeral My Party (dedicated to a departed friend) allowing a very slight slowing of pace in an otherwise high-speed set, and the wonderful Lost such a highlight that even Marzia applauded the rest of the band at the end of the song. The band’s perfect melange of power, melody and dynamics makes for an invigorating spectacle which was all the more effective for being at such close quarters.

The all-too-brief show ends with a euphoric In Darkness You Will Feel Alright, title track of the band’s debut LP back in 2012 and a suitably life-affirming mantra for both band and audience alike.  With no time for an encore (the venue’s band curfew time having been reached) the indefatigable trooper Koppa headed straight from the stage to the busy merch table where hopefully the band recouped the additional costs of their first sojourn north of the border.

The band’s UK and European tour, organised as ever by the band themselves with the support of the goth and punk communities, continues during the rest of the month, a rare and highly-recommended opportunity to catch one of the scene’s most consistent and under-rated acts in their ‘live’ prime.

Live Review: The March Violets, 13th Chime, Naut and Gothzilla at the Classic Grand, Glasgow - 3rd August 2024

 

Another goth show, another great multi-band presentation in Scotland.

Frank from Flag Promotions called his eclectic four band line-up a goth mini-festival in his pre-publicity, and in reality this show was probably the closest there will be to a goth fest in Scotland this year. The Classic Grand’s main room is tucked away on the top floor of what was originally a Victorian warehouse in downtown Glasgow but for many Glaswegians the building is still best remembered as a 1970’s porno cinema, so a more than suitable venue for what The March Violets’ Rosie Garland would describe as a “celebration of weirdness” on their return to the establishment.

                                                            The March Violets

And who better to kick off the evening – or indeed any goth gig - than Scotland’s own Gothzilla, the “goth and proud” duo whose The Sisters of Mercy inspired songs like Cast No Shadow feature anthemic choruses over an industrial groove machine of a sound. As ever, frontman Tim’s pitch perfect vocals are matched by his infectious enthusiasm, and he again manages the impressive feat of cajoling the increasing crowd of po-faced goths (having taken to the stage not long after 6 p.m.) into engaging in some audience participation on traditional set-closer Temple of Sound.

                                                            Tim from Gothzilla

Next up were Bristol three-piece Naut, who have established themselves as one of the most exciting new bands on the goth/post-punk scene since the 2016 release of their first EP Raise the Lights, thanks in part to the success of last year’s wonderful 'grower' of a debut album, Hunt, which featured heavily in the setlist for this, their debut Scottish gig. Bringing a distinct rock element to their drum-machine gothic post-punk, Naut both look the part and can deliver a powerful live experience, although sadly on this occasion a poor sound mix affected the overall impact of their performance by reducing the subtlety and complexity of songs like Unity of Opposites and 8 in 3 to a mushy cacophony. However, there was fortunately no doubting the dark, brooding intensity of songs like Dissent and Nightfall which have the driving power of early Red Lorry Yellow Lorry or more recent late-lamented acts like Terminal Gods. With a strong stage presence to match the quality of their songwriting, Naut are probably the current British band most likely to experience sustained success overseas, on the evidence of this gig, their first sojourn north of the border.

                                                         Naut

Also making their first Scottish appearance a mere 45 years since forming were fellow English band 13^th Chime. I must confess to my eternal shame that despite being an avid follower of the positive punk scene at the time, the Suffolk/Cambridge band completely passed me by during their first recording incarnation between 1981 and 1982, and like many goth fans around the globe I only discovered them thanks to the Sacred Bones re-releases fifteen years ago, which in turn prompted frontman Mick Hand to relaunch the project. During the Glasgow set Hand and the band showcased songs from their entire history, including Interviewing Time and Reality from their 1979/1980 phase as punk band The Antix, before the name and stylistic change of the 13^th Chime era. By 1981, PIL, Killing Joke, UK Decay and others had shown that there was life beyond three chords and simple rebellion, and the genre-defying and much sought-after first two 13^th Chime singles, Cuts of Love/Coffin Maker and Cursed/Dug Up are played in full tonight. With their spooky ambiance and lyrics, dubby krautrock groove and deadpan vocal delivery, the overall effect is not entirely dissimilar to the sound with which Alien Sex Fiend would later become major players on the scene. Hearing them live in 2024, with those tinny early studio versions magically metamorphosing into muscular grooves, 13^th Chime are a powerful and highly enjoyable experience which will hopefully be returning to Scotland before another 45 years have elapsed!

                                                        13th Chime

By way of contrast, headliners The March Violets had played Glasgow as recently as last year (a gig with Vision Video at King Tut's, which was also reviewed on this blog), and although many features of that gig – the malfunctioning drum machine intro to opener Crow Baby, the joyous and well-deserved final encore of Snake Dance, Rosie’s imperious stage personality and strong vocals, and Tom’s alchemic guitar contribution - were once again present, there were a couple of major changes, with William Faith being replaced on bass/backing vocals by the returning Mat Thorpe, and a clutch of very well-received tracks (of which Headed For The Fire was the undoubted highlight) from the very impressive new studio album Crocodile Promises inserted into the setlist. The band rattled through a fast-paced set which understandably drew heavily on the classic early singles, although the title track from Made Glorious also made a welcome appearance. 

The March Violets

Although the Violets also suffered from some sound mix issues which rendered Thorpe’s vocals all-but-inaudible (a capital sin, given the importance of Si’s vocal in the band’s unique male/female appeal) and (equally criminally) left Ashton’s guitar too low in the mix, this final performance of their triumphant UK tour was deservedly rapturously received by an enthusiastic crowd which was slightly smaller than last year (although this is probably due to the clash with Rebellion Festival in Blackpool at which they themselves had played the night before) and augurs well for their forthcoming US dates.

Overall, another great gig in what is turning into a memorable year for Scottish goth gigs, with an amazing free show by legendary Italian deathrock dark punk icons Horror Vacui taking place next week at Bloc+. 

Bandcamp links:

The March Violets

Original design March Violets t-shirts by Si Denbigh

13th Chime

Naut

Gothzilla