Alec Empire

Under the scrutiny of a clad-in-black crowd, a singer, Guitarist and DJ/Samples man take the stage. Recent signings to Canadian label E115 Media, The Shizit seem to straddle the divide between the inventive noise of Atari Teenage Riot and the more extreme end of industrial tinged metal bands such as American Headcharge or Static-X. Songs like '32-bit Whore' and 'Audio Jihad II', showcased on DHR's recent USA compilation 'Dont Fuck With US', mix the pounding techno/drum n bass electronics familiar to much of Digital Hardcore with much heavier metal riffs and masculine roaring vocals, straying away from the more distorted politic MC-ing of tonight's headline act. They managed to form a moshpit within the space of three songs in a venue that was still filling up, a credit to their music that can appeal to DHR purists and those being weaned off of the increasingly generic nu-metal market. When the kids realise this band makes music about 5 times more powerful then Slipknot with a third of the members and none of the posturing, The Shizit might begin to make it big...

A welcome difference in the billing tonight, The Eighties Matchbox B-Line Disaster emerge onstage like a cool as fuck mutation of the Young Ones, and launch into some bass heavy baritone schizophrenia. Though lacking the electronic styling of the rest of tonight's bill, a strong sense of independence and chaos is perpetuated by a band who hint at the evangelical darkness of The Birthday Party, with pounding rockabilly repetition and howling breakdown vocals. 'Fishfingers' sounds like desert stoner punk standing off against Mike Patton brand hardcore, 'Psychosis Safari's disorientating vocals and dark imagery sounds like sleep deprivation, and 'Presidential Wave' builds up a layer of yelps and barks crashing into a stomping melancholic refrain. Throughout the set the lofi mix of postpunk and hardcore creates an amazing razoredge unbalanced atmosphere, visualised by the thrashing of lank hair and skinny ties.

Alec Empire's entrance is fitting of the icon he is surely transforming into. With latest album Intelligence and Sacrifice helping cement his own iconography and image, the Silver 4-Sixes motif and bullet-proof cheekbones create a clear vision for the crowd. The transition from underground punk hero, creator of a record label and inspiration for a genre of music, fiercely independent and political, to a "rock star" of any nature may seem hard to swallow by many. But it is the honesty which is felt by everyone watching that makes this change genuine. Comparisons could be made with similar vitriolic dark Rock icons such as Marilyn Manson or Trent Reznor, but where as Reznors musical ability takes precedence over any developed ideology and Mansons shock and theatrics often overcast both music and message, Alec Empire shows a militant minimalism on stage. The stark image of the black sleeveless top and harsh muscular build takes precedence over any backing band or stage show. All there is is a constant wall of noise, from slower beats of 'The Ride' or 'Addicted to You', to the jerky layering of 'Buried Alive', the crowd erupts as soon as the first sound is emitted. Alec's vocals are snarled in a genuine rage, but always controlled under a layer of effects and distortion, and this control extends over the crowd joining in every clenched fist raised. The closing of 'New World Order', from the dark hip-hop opening descends into more extreme noise spiralling in layers of screeching feedback, and Alec Empire is borne up by the crowd, smeared with blood and throwing himself on the floor with a final rallying call in the silence.

Alec Empire has an obvious abundance of anger and focus, and every live performance demonstrates this precisely directed vitriol. His self-destruction is not feigned, but neither is it the result of some psychological lack of control. It is a combination of Intelligence and Sacrifice, soundtracked by the apocalyptic angst of modern culture.