Flyer by Henry Gillett
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The Harmony Syndicate & Nighthawks presents:
CLUTCH 2: feat. Empty Vessel / No Guard / Chrysalis / Isomer
Nighthawks Bar, Collingwood, Melbourne, Australia: 23 November, 2023
Showcase review: Richard Stevenson. Photos by Richard Stevenson, unless otherwise noted.
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Prologue
Some 13 months after the debut CLUTCH showcase in October, 2022, the second instalment was delivered in late November, 2023. Again held at Nighthawks Bar – a narrow ‘shopfront’ bar with small performance space upstairs with a decent sound system – it represents an excellent and intimate sized venue for this type of underground post-industrial event. But before getting into the review of the CLUTCH 2 showcase, some other local activity warrant comment.
Since December 2022 another local, bi-monthy event under the banner of Noise at Radio Bar has hosted a series of Sunday afternoon noise/post-industrial shows. Having personally attended most of these events, they have been definitely enjoyable. Notably of a rough and ready DIY style, they featured numerous local, interstate and even an international act, spanning a wide spectrum of noise, post-industrial, experimental and power/heavy electronics sounds. Consequently, my overall impression of the Noise at Radio Bar gigs is that they are straight to the point and organised in a very much ‘get shit done – no fucks given’ underground attitude. The CLUTCH events then sets themselves slightly apart by being slow-burn in the planning stages to deliver carefully curated post-industrial showcases.
Regarding the chosen line-up for CLUTCH 2, newcomer No Guard returned in support of two interstate acts, namely Isomer from Adelaide, South Australia, and Chrysalis from Hobart, Tasmania. Further support came from Empty Vessel, whom I was not previously familiar.
Empty Vessel
Apparently being the debut show for Empty Vessel, for the set the sole member performed seated behind a boxed modular synth rig and played to a video backdrop of black and white urban explorer footage from the Paris catacombs.
Sonically the set was strongly influenced by classic mid-1990’s Cold Meat Industry material, but with some unique twists on that template. Sub-orchestral tinged death industrial was the main backbone blended with segments of tribal and militant percussion, but also featured forceful beat driven electronic influences weaved throughout. Regarding these additional electronic rhythmic and percussive elements, while certainly not having the typical cadence or pattern of drum’n’bass or breakcore, it appeared the production sound and tone definitely drew influence from those quarters to give the sound a differing sonic edge. When further blended with sonic influences from the likes of Megaptera and early Mz.412, perhaps the sound of Empty Vessel could be suitably described as death industrial/occult electronics?
One minor point to raise however was that the intensity and pacing flow of the set was slightly interrupted by the short pauses between each track, but then again this did highlight the live nature of material and not a mere pre-recorded backing. Ultimately the Empty Vessel set was very enjoyable and refreshing to hear as there is not much of this sort of martial currently being produced in the underground, be it locally of further afield.
No Guard
At the first CLUTCH showcase No Guard’s performance completely surprised by the significant leap forwards from an early self-released demo recording I had heard up until that point. Since then an excellent tape has been issued via Devine Severance Records, and with a second tape on Cipher Productions being released to coincide with the CLUTCH 2 showcase. Building upon the death industrial/heavy electronics intensity of recent material, the live performance at CLUTCH 2 showcased yet another leap forward in confidence and playing what appeared to be a set of entirely new music.
Having played wearing a mask for the first couple of shows, the mask was forgone for this performance and replaced with a greater degree of stage presence and confidence. With heaving battle-scarred post-industrial soundscapes (aka windswept death industrial and muted power electronics) the sound was strongly underscored with sampled choirs/religious chants and well-chosen dialog samples.
Given the slower and controlled packing, the industrial grit blended with ominous drones and the sampled vocal undercurrents generated a sound more akin to a mid-1990’s heavy electronics style. Likewise some oblique inspirational nods to the likes of Anenzephalia could be easily be made. Generally manning modular synth equipment to side stage, and occasionally stepping up to stage front to deliver heavily treated vocals, it was another impressive live performance from this newcomer, where it has been excellent to witness first-hand the rapid evolution of the project.
Photo by David Tonkin
Chrysalis
Up next was Crystalis, which is the varied post-industrial project of Chris Groves – aka head honcho of Cipher Productions. Having seen Chrysalis live a couple of times prior, notably Chris displays clear intent with both sonics and thematics being presented live. Tonight was no different.
In recent times the Chrysalis live set has specifically focussed on the notorious Australian cult ‘The Family’ which operated from the 1960 to 1980’s under the leadership of Anne Hamilton-Byrne, where numerous adopted children suffered significant abuse. In further adherence to the theme, Chris’s ‘business wear’ functioned to further reflect the uniform of ‘The Family’ cult.
Having previously seen this particular set at a recent Noise at Radio Bar show, at CLUTCH 2 it had a much greater impact due to the quality of the sound-system. Sonically the set was split into two distinct parts, with the first section involving a glacial pace and the slow roiling laborious industrial noise was slowly built up over the first half. At the mid-point of the set it abruptly cut away into a more subdued section based on morose toned loops. Over this later half, gruff bellowed vocals were delivered (both behind desk and out amongst the audience), where the lyrics were presented from the perspective of the children who suffered abuse within ‘The Family’ cult. Ultimately the skilled and slickly performed set was very well received by those in attendance.
Isomer
Tonight’s headliner Isomer has been musically active since the late 1990’s, and during the earliest phase was very much of a dark ambient/heavy electronics hybrid. But it is then worthwhile noting that Isomer today is a very different sonic beast. These days Isomer’s focus is more towards post-industrial noise and power electronics and with a central focus on live generated noise. This was evidenced by the set commencing with contact mic-ed sheet metal used to create forceful rhythmic loops from being fed through a series of distortion pedals and building up the set from there. Isomer also demonstrated calm and practiced command of his equipment, which included: dealing with early issues with the KORG MS20; while later changing various source inputs at various points throughout (microphone, contact mic etc).
Sonically the set was controlled and pleasingly loud, featured breadth, depth and separation of sonic elements. Hefty power electronics inflected synth oscillations and looped sheet metal provided the basis, topped with harsher freeform noise and electronics, with the set including a few tracks from the 2016 album Three Kestrels. Occasionally heavily echoed and flanged vocals were delivered front of stage, and while there is a strong sense of aggression, there was also a strong melancholic edge threaded through proceedings. Given that Isomer had not played live in Melbourne for around a decade, it was a very welcomed return given the commanding and intense performance.
Epilogue
Ultimately CLUTCH 2 demonstrated itself as a meticulously planned event which ran like clockwork on the night. Pleasingly it well attended for this sort of underground show – perhaps 30-40 in all – which for the small venue felt decidedly crowded. While all local focused post-industrial underground events are certainly welcomed, CLUTCH 2 demonstrated itself to be a particularly stellar event. Onward to CLUTCH 3?
noise receptor 