Godflesh Returns With A Vengeance At Metro
By Casey Moffitt in Arts & Entertainment on Apr 17, 2014 7:30PM
Godflesh hit the Metro stage Tuesday night reminding everyone why they have been missed for so long. The industrial duo of Justin Broadrick and G.C. Green tore through a dozen of the act's biggest hits with minimalist riffs but a heavy sound.
Anticipation was great for this show. Not only is this Godflesh's first U.S. tour since 1996, but a scheduled tour in October had to be postponed due to visa issues. It wasn't the first time Godflesh had disappointed fans by not appearing on schedule, as the band cancelled a U.S. tour in 2001 when Broadrick suffered a nervous breakdown, and then split the band in 2002.
But all that was forgotten as soon as the first big cords of the opener "Like Rats" washed over the crowd as if to announce Godflesh is back and just as powerful as ever. The setlist was a real crowd pleaser, including "Christbait Rising," Streetcleaner," "Avalanche Master Song" and "Pure." They came back to play the encore of "Love Is a Dog from Hell," and left the crowd eager for more. It was a nice cross section of the band's career, which promises to continue as a new album is forthcoming later this year. It was a sort of victory lap to let the older fans see them again and younger ones who had missed the opportunity 18 years ago a chance to get a first-hand glance at its glory. It's a pretty slick move to get people excited about them all over again in anticipation of the new album.
Although the sound was pummeling, it wasn't punishing. Yes, Godflesh was loud, but not stupid, headache-inducing, ear-splittingly loud. This writer forgot his ear plugs (which, by the way is really dumb, kids) and still managed to leave the show without that annoying ringing in the ear.
The bass-heavy sound was almost felt physically rather than sonically. It was as if Godfleshed used the whole room to get an extra heavy effect. Vibrations could be felt through the floor, into your shoes and up to your knees and chest. Green's bass pushed and growled while Broadrick's guitar soared over the muck. And the trusty drum machine pounded away relentlessly as a machine should.
The only disappointing thing that could be said is that there were no surprises during the set. If you were familiar with Godflesh's recordings, well, that's what you got. Nothing really new was added to the material. It probably is best not to confuse a crowd for whom you haven't played in 18 years.
The influential noise underground artist Cut Hands, a.k.a William Bennett of Whitehouse fame, immediately preceded Godflesh with his own far out set of rhythmic dance noise. The sounds emanating from his two laptop computers was like a futuristic primal drum circle.
It wasn't much of a show to look at, as Bennett mainly stood behind his computer set up, other than the projected images behind him which nicely accompanied the tracks. They explored the erotic with silhouetted female figures dancing in the foreground of a wild light show. At one point Bennett put his hands behind his head and gyrated his hips to the beats, which was pretty amusing.
He also included a nice bit of sacrilege projecting a dreadlocked black man in grotesque robes holding a crucifix with the word "Jesus" emblazoned above his head. It was if Bennett was wondering whether anyone would follow that man even with the same teachings, messages and miracles, but with a different appearance than the conventional image of Christ.
Locals Czar opened the night with their brand of progressive metal and did a fine job setting the bar for the evening with their pounding riffs, efficient lead tones and acrobatic drumming.