The Harmony Syndicate & Nighthawks presents:
CLUTCH : feat. Grafted Soma / DFFDL / No Guard / Pterygium
Nighthawks Bar, Collingwood, Melbourne, Australia: 09 October, 2022
With Melbourne being subject to the world’s longest collective Covid lockdowns over 2020-2021, it has take some time for a sense of normality to return. This includes things previously taken for granted, such as underground experimental music shows, which are slowly starting to recommence. Thankfully from mid 2022 there has been a number of notable local events featuring dedicated noise and post-industrial sounds, and with the CLUTCH event being one of the latest on offer.
Given that such shows can often happen, yet leave little trace afterwards, it felt important to document some impressions of the event. This is as much to acknowledge CLUTCH an excellent evening of post-industrial sounds, as well as to provide documentation of such local live activities. As for the chosen venue Nighthawks, this is a small and narrow ‘shopfront’ bar of the American tradition, with the addition of the upstairs floor accommodating a small stage and intimate live performance space, including the all important decent sound system.
Of the four acts slated to play, Grafted Soma kicked things off in the early evening. As a duo, they were armed with one member on a modular synth rack, and the other manning a table of other noise gadgets. Through this equipment, the set charted a flowing but clearly controlled post-industrial and grit infused dark ambient style. Projected backing footage was noted to be taken from a current affair reporting of an infamous late 1990’s serial killing spree in Perth, Australia, where the perpetrator was only caught and convicted in recent years. Although it was far from obvious of whether the set was directly referencing the visuals, the backdrop at least provided suitable visuals to concentrate on as there was minimal stage presence on display. But sonically speaking. Grafted Soma presented a solid start to proceedings.
Photo credit: Richard Stevenson
Photo credit: Richard Stevenson
DFFDL followed next, where I had zero expectations of what was to come. In the end I very much appreciated the 30 odd minute flowing set of melancholic drones and ambient noise. With a strong and central undercurrent of harmonic yet noise infused drones, it brought to mind that particular vein of dour yet uplifting melancholia present in Justin Broderick’s more ambient works (i.e. Jesu and Pale Sketcher). But rather than sounding as ‘songs’, DFFDL’s, approach was very much more rooted in an underground experimental flow. A surprising and very enjoyable introduction to DFFDL.
Photo credit: Rod Cooper
No Guard (a solo project), were up next and are a relative newcomer to the Melbourne post-industrial underground. While I am familiar with a self-released tape issued over a year ago now, which features semi-crude Atrax Morgue inspired experimentation, along with other minimalist rhythmic industrial cuts. Yet that released completely pales in comparison to what is being sonically delivered now. Personally I was very surprised by the significant leap forward the project has taken in a relatively short span of time, where tonight’s set was framed around a clear set of composed tracks, which were very much of a European Heavy Electronics / Power Electronics type.
The sonic set up involved a rather antique looking modular unit, midi keyboard and a slew of pedals, with additional mic and hand held effects unit. With this equipment a controlled yet building set was unleashed, pushing onwards to feedback peaks coupled with rough vocal barrage, and subsequently moving through to sub-rhythmic death industrial type passages. With a clear intent on a performative aspect to the set, this shone through with both choice of sampling and associated stage presence and articulated body language. Noting this was a strong showcase of a new project (and I think only the second live performance of No Guard), it bodes very well to see how the live aspect will be honed though greater live experience. A new project to watch it seems.
Photo credit: Daniel de Jongh from Discipline Mag
Photo credit: Rod Cooper
Headliner Pterygium’s live performances are perhaps Australia’s best kept post-industrial underground secret. Clearly Henry’s recorded works have been catching well deserved attention globally in recent years, but that output bears little resemblance to the ‘brute sonic force’ live presentation of the project. While fragments of known sonic passages are certainly detectable live, these are both elevated through yet subsumed by the cacophonous barrage of layered distortion. With only fragments of melodious elements peaking through the mass of sound, thanks to an extended mic lead Henry spent much of the performance off stage with a clear intent to demolish the ‘forth wall’. With physicality being the name of the game, Henry’s heavily distorted vocal tirade involved partly confronting the audience, yet in equal measures having a visceral breakdown amongst them. With nothing but 100% commitment on display for the full duration of the set, it is clearly gruelling for Henry to perform; and the audience to witness.
Of note, this was the fourth time I have seen Pterygium live and easily the best given the sheer volume and weight of sound given the confined space of the venue. But as the direct opposite of other performances I have seen (which built to a chaotic peak before abruptly cutting out), for the end of the set it gradually fell away into an extended ambient passage, which functioned to highlight the sheer intensity of that which preceded it. In my view Pterygium needs to be seen on international stages, and while I believe there has been prior plans to get overseas to perform, that was before Covid put a halt to those earlier plans. But now that the Covid cloud has (somewhat) cleared, here’s hoping you international folk get to witness Pterygium live at some point soon.
Photo credit: Rod Cooper
Photo credit: Daniel de Jongh from Discipline Mag
Photo credit: Richard Stevenson
Photo credit: Daniel de Jongh from Discipline Mag
As a final comment, evidently this event under the CLUTCH banner is intended to be an ongoing series of shows. As for this first night it was excellently curated with each project showcasing a very distinct approach, which gave a real sense of diversity to the local activities within the post-industrial underground. A great event overall after, and very much looking forward to what future CLUTCH instalments bring to the sonic table.
Short video reels of each performance are available on IG via: #theharmonysyndicate
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