INFEST – 23rd to 26th August 2018, University of Bradford UK.

INFEST – 23rd to 26th August 2018, University of Bradford UK.

So, it’s been twenty years; twenty years of an annual pilgrimage to the University of Bradford, which is lovingly termed as “Industrial Summer Camp” by many here in the UK.  Twenty years since three students cobbled together the first ever event and not many of us could back then, have seen it still being here now.

Under the guidance of Terminal Productions, Infest is simply the only real event of this nature on these shores; and this year, in celebration of such a milestone, they extended the length to physically crippling four days.  Some festivals abroad may actually go on longer than this normally; but the folk over here know how to give it some and I knew this was going to be an exhausting, but exhilarating experience as always.

DAY ONE – 23rd August 2018.

Completely flummoxed that it was actually a Thursday I headed over with my usual throng and ran the usual yearly catch ups with folk before considering more drink and of course, the bands.

The difficulty with anything coming before tonight’s headliners were that they were always going to be somewhat brushed off ever so slightly as the eagerness set in for the main act.  The North West of England provided us GRAVE DIGGERS UNION, who promised eclectic drones and Post-Punk.   Unfortunately though, these guys didn’t get the juices flowing at all. A mix of steady drums, pondering monotone vocals and B-Movies synth lines left me far from enthralled; and when one friend proclaimed (much to my surprise) they were “better than on record” and another “They’re like the worst of 4ad” we left the floor for more beer just a few tracks in, shrugging our shoulders.

Completely consumed in chatting away and vast amounts of alcohol we were caught completely of guard with the start of female fronted ZEITGEIST ZERO.  Another band claiming the overused terminology of Post-Punk, for me they showed little influence to justify the tag; however, they were thankfully infused with an energy missing from tonight’s openers, with a brash mix of heavy guitars, percussion and a smattering of trance-like keyboards.

The main coup of the weekend was the headliners PETER HOOK & THE LIGHT; and we were definitely not missing one moment of this.  I have seen Hooky and his cohorts a number of times now and will be doing so in the future as well; and I was quite surprised by just how many people here hadn’t bothered witnessing him live before.  With a set that mainly played to the strengths of Joy Division we were treated to an invigorating show that capitalised on a lot of the crowds age, with ‘New Dawn Fades’ and ‘Transmission’ to name just two.  The New Order elements of the show picked up the audience with ‘Temptation’, ‘True Faith’ and ‘Blue Monday’ and we were all jumping around like maniacs.  Closing the show with ‘Love Will Tear Us Apart’, I noticed there weren’t many dry eyes in the house; and people were singing their praises for the rest of the weekend too.  A truly amazing set, by a truly amazing bloke and his slightly altered band for the evening; this was probably one of the best performances I have seen in all twenty years at this festival.

Completely buzzing from the headline show, I didn’t really want to watch any more acts that night; but Infest had other ideas, with the odd placement of club filler EMPIRION, which were there to lead people to the dance floor into the early hours. I get it, but Hooky and co were just too good to follow; and after watching one song we elected to stay outside for a couple and then head home, to get some rest to store the reserves for the rest of the weekend. Not being a fan at all of these guys I didn’t take much persuading.

DAY TWO -24th August 2018.

Earlier in the day I had convinced myself we had to be there early doors.  Of course, it crept up on me later that it was actually Friday. After oiling our bones with alcohol we made our way to the front to catch the enthusiastic duo of DEF NEON.   Shouty, riotous vocals, Rickenbacker Bass in hand with an accompanying heavy guitars and samples, we were treated to an enthralling set that felt like the soundtrack to the 80’s pixelated ride of ‘Outrun’.  The sound guys needed a slap here as they turned it down two tracks in, but the sheer energy of the guys on stage counteracted any issues provided there; with vigour and infectious enthusiasm abound.  Great stuff overall and just what the doctor ordered to get the evening rolling. I doubt they will get away with the latter songs being allowed on record though due to copyright issues that will arise from the samples used. Brilliant nonetheless.

SIVA SIX only managed to get a couple of tracks in before I headed outside. Their rather bland version of harsh electro simply isn’t up my street and has been done boringly to death; and I wanted to save myself for later.

I have been following Yann and his mighty ISZOLOSCOPE for years. Yes, he is just one man on stage and could have done with some visuals tonight; but the guy is the epitome of energy and this definitive Powernoise stalwart commands nothing but respect.  The beats and ambient blasts of noise that weave their way throughout his structured rhythms, never fail to get a crowd moving and tonight was no different.  Yann will always be awesome; Iszoloscope is awesome.

The return of CUBANATE recently has provided much excitement amongst the scene as everyone loves their older bands to still be relevant; and still be accessible as a figurehead for a genre.  The crowd were going crazy, the pit was as hilarious as it was in parts brutal; and the songs were battered out with absolute fury.  There were no pints in hand at the front as Heal and Barry (tonight joined by Reza Udhin on drums) literally crushed the audience with a set riddled from dance floor crushers ‘Body Burn’ and ‘Oxyacetylene’ amongst others; and the responsive audience were a sea of sweat and smiles all round. The lesson here is; old school is always the best school.


DAY THREE- 25th August 2018.

Feeling somewhat bedraggled and worn out, being a day ahead of myself was always going to be challenging; and it took a few drinks, food and watching people churn their insides up on a bouncy castle outside, before I was ready for tonight.  Due to lack of pacing myself, I had unfortunately missed my chums FLESH EATING FOUNDATION (who I have already seen) and was only there in time to catch the tail end of ADAM IS A GIRL, whose sultry vocals and downbeat guitar led rhythms could have actually been right up my street at that time of day if I hadn’t felt so rough and had a comfy chair to sit on.

YURA YURA provided the rhythm from the Hands label offering for the weekend.  I struggle to put many albums on from the stable nowadays as time goes by, but overall, most of their acts always give an audience just what they need at a given time in a festival.  Hypnotic beats that grind and pulse away to get the body moving (or groaning in my case); and whilst they will never set the world alight, they got an approving nod from me.

Vancouver’s’ ACTORS are really making a name for themselves and another band tossing around the Post-Punk banner, but actually the term is quite fitting in a White Lies sort of way musically.  I was a bit of a mess at this point I have to admit; and my attention wasn’t what it should be, but a sturdy set gave them a bit of an edge tonight that is ever so missing from their pleasant recordings, that require just a bit more grit to truly grab me. This means they’re most likely going to make it quite big.

From Daniel Myer’s unending, exhausting list of projects, LIEBKNECHT was up next.  A colder edged techno vibe going on here and a fairly decent one at that overall; but that’s basically all there is to say about it.  I sometimes wish Daniel would cut some of the ties to other outlets and concentrate on the main ones as not to spread himself so thinly.

I have a soft spot for Bristol’s finest, MESH, especially live; and tonight’s headliners were just what I needed. Stood with my friends we chanted out chorus after chorus, with lots of hugs all bouncing all round.  Yes the lyrics can be a touch cheesy and some people can’t get over the beany hat (idiots); but the bands longevity and ability to create a hook cannot be denied.  You will all know the songs by now and that in itself speaks volumes.  The first time these guys headlined, they left everyone a bit down, but tonight we were all smiles and full of appreciation for a worthy top spot; and everyone one was feeling quite emotional during ‘Friends Like These’, accompanied by a stream of audience selfies and whatnot.

Once again, Infest decided to throw a support act in to bridge the gap between show and club; and whilst the masked SARIN churned out beat after beat, I simply wasn’t in the mood and didn’t want to be brought down from the elation of dancing with friends to the main act whose lyrics were still pumping round my head.  Much drinking, chatting and judging a taxi ride home were all that was left to pursue.

DAY FOUR- 26th August 2018.

Today was always going to be hard and with only one band on todays bill I like, it was a real struggle to get motivated.  Barely making it from my pit I was down on numbers of friends as people were dropping like flies. Either way, after a couple of drinks and lots of grunts and moans from mates who I assume felt as bad as me; we re-arranged body clocks to try get a second (Third? Fourth?) wind, to get through the evening.  The victims of this zombie lethargy were PROMENADE CINEMA and MASSENHYSTERIE, who I watched through a veil of swamp like fog of my own doing; and I have to admit everything was rolling into one at this point with the synth pop and dance beats of female led acts becoming cluttered in my head, thinking back.  Both appeared to be decent, but I have to be honest and apologise, even though they were dramatically different, it’s all but lost on me looking back now.

VALHALL came on stage just as I was perking up somewhat.  Flying the Witch House banner as a genre was enough to spark my interest.  Musically they were on point, but my friends and I gave up midway, once we realised the vocalist couldn’t hold down a note, even if her life depended on it.

The pop musings of synth driven ELEGANT MACHINERY were decent enough.  Not exactly my cup of tea; as I didn’t have a hook to latch onto, but were worth a shout for a few tracks due to their competency live.

STRVNGERS got an enthusiastic response from the audience; and many people have been singing their praises since witnessing them.  I am not going to knock their professionalism, nor their ability to write music, but once again, something didn’t sit well enough for me and I am struggling to put my finger on it now.  The songs all seemed to have something distinct about them that made them different from the last; but regardless of the changes, my mind screamed “Emo!“ (even if they’re most likely not) at me and I had to walk away.

Thankfully a band that I love came to the stage to save the day. THIS MORN’ OMINA tore into a blistering set full of tribal rhythms and dance driven electronics with Mika playing his part as the consummate frontman.  Long gone is the Powernoise tag that was incorrectly thrown at them years ago and now they are a fully-fledged band.  This is an act I have seen a number of times and they never fail live. For the first time of the night I got to have a jump around and even the security guard on the steps loved them too; singing along to an array of indistinct powerful chants as the beats cut their way through the noise.

Now; my major gripe of the weekend. I put my hand up when they were announced and still stand by what I said then. AESTHETIC PERFECTION don’t seem like a fitting headliner to the end of a weekend such as this for me. We already had Hooky, Cubanate and Mesh fly the flag at the top of their respective nights by this point, but a Sunday headliner should always be huge for me; and whilst these guys have done well and sell a fair bit, they do not command what the other headliners do in the clout stakes. I saw a bit and wandered away as I am not a fan of their songs; they performed well and I will leave it at that.


So that’s it; another year and Happy 20th Birthday to Infest. I partied and wobbled into the night, catching up with all my friends from all over the UK and beyond for another year.  This year was a mixed bag of acts and whether I liked them all or not is irrelevant.  We all have our likes and dislikes and some will like other bands that I do not; and I wouldn’t change that for the world, as the one thing that Infest always provides is variation.  I would be bored senseless if all the bands were the same; and love the challenge of exploring something new.

Next year has already started with pre-sales going up at the weekend, with Nitzer Ebb already announced (and who wants to miss that?!).

Thank you to the tireless effort of the Infest crew for bringing us this weekend year in, year out. Thank you to my friends for making the weekend what it always is. I will however struggle if it’s anything more than three days next time out as I am still recovering now; with a smile on my face of course.



HALO MANASH: Wesieni Wainajat CD Aural Hypnox

HALO MANASH: Wesieni Wainajat     CD Aural Hypnox

Living and breathing their music through what appears to be some form of occult knowledge/belief system, has provided Halo Manash with at least some sense of continuity and concept that drives each album as one whole organism.

‘Wesieni Wainajat’ is mainly built from organs, field recordings and other instrumentation, which I am quite unsure of.  Mysticism prevails throughout this lengthy affair, where ritualism provides the listener with music that is otherworldly and dripping in arcane sensibilities.

Neither solely producing Dark Ambient, or anything as monolithic as the guitar driven Sunn O)), they sit somewhere in between; but are no less ominous in their approach.  You can almost visualise Halo Manash conjuring this up from the bowels of a Scandinavian forest, clawing at the earth whilst beacons burn into the witching hour.

For some, this mainly Finnish act will be hard to consume as they pander to no particular crowd, whilst inviting welcome gestures from many a genre that toys with similar subject matter.  The end result; is an album of purely night driven music that oozes in atmosphere and hidden esotericism that is as engaging as it is cloaked in a web of hidden horrors.


I.CORAX: From Goldem Flesh to Silverb One / Kuilu CD’s Aural Hypnox

I.CORAX: From Goldem Flesh to Silverb One / Kuilu     CD’s Aural Hypnox

‘From Goldem Flesh to Silverb One’ is a re-issue of I.Corax’s third album, which had endured a period of unavailability.  This has been credited as a live studio rehearsal, in preparation for a show in 2003.

Given the nature of how this has been cobbled together, this comes across as on as one singular experience built up from eight untitled pieces of work that join at the hip.  Mysterious drones and ritualistic Dark Ambient atmospherics interweave and meld into a pot of disorientation; whilst undercurrents of natural sounds and whispers scatter the waves like some hidden incantation.

The overall effect is quite jarring and unnerving; and I can imagine that with the appropriate visualisations, this would be quite effective in a performance environment.  In one sitting at home however, it can be a little weighty and distracting to endure end to end; as the live nature of this album does give way to a slight lack of cohesiveness.  This can of course be forgiven in equal measure and all in all this is a solid piece of work from start to finish.

‘Kuilu’ is the sister album in release terms to the former (indeed both have been released as a limited box set as well as separate items.  On this occasion this recording is taken from the bands debut live show, comprising of four tracks that span over 40 minutes in total.  Careful thought had been placed into providing a performance that starts of relatively subdued, only to rise to dramatic effect as it trudged ominously forward; culminating in a wash of Progressive Space synth sounds.

It’s interesting to note, that later work from this act provides a more visceral experience than what I experienced throughout the course of these two albums; and it appears as time moves forward, I.Corax are falling deeper down the path of madness mapped out from their inception. Scoring is based on the both albums played back to back as a whole.


LINGUA FUNGHI: Melankhton CD Aural Hypnox

LINGUA FUNGHI: Melankhton       CD  Aural Hypnox

Field recordings more often than not have received many a bad review from me over the years, where I have encountered a vast amount of pointless nonsense.  Luckily, Lingua Funghi utilise an array of acoustic instrumentation to gel the natural sound sources just as a base foundation to their work.

Drones and reverbs are the order of the day, alongside an array of tribal rhythms to create a barrage of ethereal and other worldly apparitions of sound, that for me actually work best when the drums are kept to a minimum.

Underneath everything is a bed of wire like electronics that edge towards modernised glitch; that build a spiders web for everything else to slowly drip off.  There is more than the odd smattering of Dark Ambient along the way too to fill out the mix.

This is a peculiar album that teeters on the edge of two or three lower genres under the DA umbrella.  I am less taken with the electroacoustic work on ‘Melankhton’, which comes across a little bit too much like sat at a campsite in Tibet, suffocating in a cloud of incense.

However, the key thing to remember here is that everything is performed well enough for me to brush aside my personal likes and dislikes; and I am sure there will be others who prefer this to the arcane groans and grit that are more up my street.

Overall, on a professional level, this beautifully screen printed re-issue works well for variation and structure; where the balance greatly shifts from dark to light at the drop of a hat.


ARKTAU EOS: Scorpion Milk CD Aural Hypnox

ARKTAU EOS: Scorpion Milk     CD   Aural Hypnox

Rather than calling themselves a ‘band’ in the traditional sense of the word, Arktau Eos refer to themselves as an “esoteric exploration unit”; which in fairness, does fit somewhat with the fruits of their labour.

This should be approached as a singular meditative release.  The album consists of just one long minimalistic track (48:04), utilising the bare bones of what appears to be acoustic instrumentation, such as bows and possibly other stringed items; culminating in a series of ranged drones.

Spatial awareness is the key and strength to the end result of ‘Scorpion Wind’.  Silence plays as much of a role as sound, in providing omnipresent glue for barely audible chants to roam the catacombs, whilst forbidden whispers are muttered in secret corners.

There is without doubt, going to be a somewhat marmite response to an album such as this, now it has been re-packaged and re-issued to a larger audience.  On one hand there isn’t a great deal to inspect or say when approaching a release such as this (such is its minimalism); yet somewhere within the realms of the void this presents, I cannot help but score this decently due to the preposterous nature it presents as music, Akin to a stripped down and less urgent, narcoleptic Sunn O))).


I.CORAX: Cadaver Pulse I & II CD’s Aural Hypnox

I.CORAX: Cadaver Pulse I & II       CD’s   Aural Hypnox

Sequentially sub-titled as ‘Sealed in a Radiant Larval Maelstrom’ and ‘Mothelix Liquescent’, I have to admit it’s a daunting task at hand when approaching what is effectively, one larger album set over two discs.

As another log in Aural Hypnox’s ‘Stellar Mansion’ series; the course of these two albums take the listener on journey through experimental Dark Ambient dreamscapes of monolithic proportions.

The demands that I & II respectively ask of the listener are nothing short of ridiculous, but ultimately rewarding.  Disc one, draws on elements of Industrial tinged DA, with strains of background Power Electronics.  The end result treading the familiar pathways of a more traditional sound that we have come to expect from the genre, whilst still daring to venture into more experimental territory.

Disc two, ‘Mothelix Liquescent’ provides some respite, whilst providing its own psychedelic battle, does offer some light to the proceedings by coming across brighter; shining a welcome beacon on the exit point of the somewhat nightmarish paths trodden over the course of both albums, clocking in together as well over two hours in total.

To attempt producing such a task as these two albums provide, deserves kudos; with much of the work being recorded live (specifically disc 2).  To approach such a lengthy concept demands focus and a great deal of professionalism to the job at hand, as not to deviate from the end result.  Here, I.Corax have to be applauded for giving a sense of weight; with shifting shapes of sound, that have the ability to crush the listener to the deepest chasms, whilst launching them to the highest astral planes in equal measure; more often than not, on the same track.

Re-packaged and re-issued, this is worth picking up if you are any self-respecting fan of Dark Ambient and all its sub-avenues.  Scoring is based on the whole prospect, as this is how they both should be absorbed. Whether you can do this in one sitting or not is another issue.


AEOGA: Temple Treye CD Aural Hypnox

AEOGA: Temple Treye     CD   Aural Hypnox

Featuring of members of ambient group Halo Manash, there was going to be (structurally at least) some form of crossover and similarities between this act and their main outlet of sound exploration.

Once again there is an undercurrent of ritualism that fits with the musicians (and indeed the labels’) modus operandi.  The main difference between the two, being that this outfits sounds ever so slightly less organic at its base ambient core; with opener ‘Feast of the Stance’ utilising some trademark horns, floating over the foundations of gritty electronic low pitched drones.

The utilisation of gongs permeate ‘Between the Crescent Hooks’, but they ultimately dissolve into what sounds like distorted guitar based feedback and light pitter-pattering rhythms that contrast well with the change of pace of the church organ led ‘Telemorphic Cuts’.

There is a lot on offer with ‘Temple Treye’ as the sound across the album changes direction on multiple occasions; and this in turn keeps the listener curiously engaged.  Off-key notes provide an aura of underlying madness from an ever-present abyss; and whilst this does provide an element of unsettlement, this in turn, does drive the overall atmosphere to great effect.