By Johnny Papan
December 6, 2018
The energy that surrounded me post-Godflesh was interesting to digest. Never would I have presumed that the simple setup of one bassist, a guitar/vocalist, and a macbook computer on percussion could create such catatonic soundscapes, ranging from eerie atmospheres to heavy grooves dug from six feet under. The band’s apocalyptic bliss was layered with a thick muck that submerged the audience into a trance-like state. There were no mosh-pits, just a sea of heads nodding in unison to the bleak riffage, enslaved to the soundwaves that quaked my subconscious.
The band was drenched in blue and red lighting. Behind them stood a video projection of surrealistic video clips. I recall a reaper-like being with no face as one of the earlier images. Also displayed were various clips of angel statues at different angles, some were silhouettes masked by the sun. Near the end of the show, the projection displayed a first-person view of someone walking down a hallway. The video was in black and white, and had a found-footage feel to it. Suddenly, a purely white figure was seen at the end of the hall, and the music got more droning as we inched closer towards it.
The screen faded to white as bassist G.C. Green nonchalantly dropped his bass and walked off stage. Meanwhile frontman Justin Broadrick turned his guitar into a source of ambient noise, letting the echo feedback wash the room. There was a sense of enchantment and anticipation within the audience, we weren’t sure what was going to happen next. Broadrick laid his guitar on the stage and approached his amplifier, turning the volume up, intensifying the noise for a few moments before shutting off the amp.