Thursday 12th July is the second
time Consumer Electronics have played London this year. Featuring an expanded
lineup of Philip Best, Sarah Froelich, Gary Mundy and Anthony Di Franco, in the
limited capacity venue of Buffalo Bar, this promised to be an intense
experience. Consumer Electronics were to play two sets that night. The first set was a live soundtrack to a
movie by Philip Best entitled 'Play Movie'.
The second set, a more traditional set-up featuring the full band
performing music from a new album entitled ‘Estuary English’.
As I entered the bar and descended the stairs I surveyed the room and
momentarily glanced at the small group of people occupying the seated area to
my right. I was pleased to see several stalwarts of the underground
scene that included Gaya Donadio - of ANTIchildLEAGUE and Hinoeuma the
Malediction fame - chatting with one of my favourite neofolk-associated
artists, Andrew King. After grabbing a drink and settling into position
it was time to listen to Ethnic Acid - a project that was devised by a 14 year
old Anthony back in 1986. As with most
of Anthony’s projects Ethnic Acid is more a sonic rather than a visual
experience, with little attention given to stage presence and aesthetic. This formula provides a more focussed
expression of "noise music", veering away from any popular aesthetic
or commercial appeal that might result as a by-product of the controversy
surrounding the visual side of the genre.
Ethnic acid perform a short set of layered noises that allows you to
shut your eyes and have an individual experience.
After an enjoyable performance by Ethnic Acid I nip to the bar for a
quick drink. At the bar I met a rather chatty
guy wearing a Skullflower shirt and GG Allin-adorned jacket that I recognised
from the Broken Flag weekender earlier this year. After a few minutes of chatter Philip Best
and Sarah Froelich took to the stage for the first of two performances by
Consumer Electronics. The first set was entirely instrumental and provided a live score for ‘Play Movie’, which
featured in London for the very first time that evening. The piece started strongly but lost its
focus somewhere along the way – most likely due to a host of technical problems
experienced throughout. These issues
were not adequately resolved during the performance and Froelich, visually
dissatisfied, was pushed to breaking point. The difficulties culminated with Sarah
Froelich, to the bemusement of Best, walking off stage in anger. Philip Best managed to hold the attention of
the audience and close the set as best he could. However, minus the contribution of Froelich, who
presided over the majority of effects pedals the performance ended on a
slightly limp note.
That evening was the second I'd seen both
Kleistwahr and Consumer electronics this year, and needless to say I was eager
with anticipation. The lurching and
bespectacled countenance of Gary Mundy presided over a small amplifier at the
left hand corner of the stage. I have a
huge amount of admiration for Gary and all he has achieved with Broken Flag
over the past three decades. Personally,
I always think his gentle inconspicuous character forms an interesting paradox
with his status in the scene. I
thoroughly enjoy the Kleistwahr performance.
Gary’s mild vocals amplified over a brutal cacophonous assault
assimilating a sense of the everyday routine; mild mannered people with a
boiling resentment lying within.
At around 10.30pm Consumer Electronics returned to the
stage with an expanded line-up featuring Gary Mundy on effects and Anthony Di
Franco on Bass. From the very beginning
there is an infectious enthusiasm emanating from Best and Froelich, and the
group make their intentions known at the start, as they kick off with a track
called ‘Mothers Morals’. By the time 'Estuary
English' - a piece from the new album – ends Philip Best has prised his nipples
from beneath his shirt and indulged in some trademark autoeroticism. Best then goes further, applying water to his
chest and eagerly beckoning fans to participate in a little nipple fellatio –
to the amusement of the majority, and delight of several others. As the show progresses Best jovially puts
bassist Anthony Di Franco in a headlock, empties bottles of lager over
audience members, pushes yours truly over a monitor, and partakes in some
playful sadism with partner Sarah Froelich - grabbing her by the neck and forcing
her head to the table. Best then lifts a
book from the table, which he holds it at arm’s length to allow members of the
audience to glance at the title and content.
The book is entitled 'Co-Opted by Cunts' and could be termed a scrapbook
of somewhat perverse clippings. The book
features heavily throughout the remainder of the performance and is in turn
caressed, licked, and rubbed all over
the body of Philip Best and Sarah Froelich.
As the night draws to a close I am yet again dumbstruck by the sheer
intensity of the performance. I rush to
purchase one of the t-shirts printed for the event and realise that even by
Consumer Electronics standards this was a fantastic performance!
Credit to John Marshall for photographs
