From The Pit – Music and Show Reviews
By Mike Ritchie
In a quiet, secluded patio-like room illuminated by a fountain of melted candle wax and a tent like ceiling extending into the dark carnival air of Hollywood loomed the curtained circular stage of Bar Sinister www.facebook.com/ClubBarSinister.
Tonight’s show featured a trio of acts that ranged from the creatively deranged, the industrial macabre and the dark dinged shine of the painted up burlesque.
Arizona’s Element A440: www.facebook.com/elementa440.music opened the show with Porn Star, a pretty little tune about the pitfalls, temptations and so called glory of the flesh pedaling, on camera, paradise. Though a trip to Vegas would now be in order. No other band could start a show with ‘excuse me, I don’t mean to bother you but do you mind slam-fucking me for about an hour?’ The keyboards and heavy guitar meshed as Halo, Graven, Katt and Animal said hello to the dark back alleyway of Hollywood. Halo took the Blade Runner meets Alien styled mic, ‘that could be used as a murder weapon in a future homicide scene’ and began the ‘during show’ meet and greet getting face to face with the local brethren.
The evening’s first Intravenous Nursery Rhyme started as Halo cooed/screamed the creepy dark tale of the disillusioned/disenfranchised misunderstood next antihero. In the presence of Freaks, he’s home. If you love drugs and kinky sex say yeah! If you’ll do all manners of filth and debauchery, leaving your dignity, health and pride in a forgotten dark pile for fame and fortune say Kookie Kutter! Yeah! They continued with the bass heavy, lugging headbanging drudge of N.D.Q., the stalking keyboards and guitars grabbing from the darkness on Something Else and finish with Godidiotocracy’s stance on religions more pronounced hypocritical issues. Their show was a twisted group portrait of Marilyn Manson, WASP and Venom in a Mad Max burned out world.
The Industrial Bitch: www.facebook.com/pages/The-Industrial-Bitch/286183468065978 was next, intro’d by the intimidating, dark veiled Undertaker, R.I.P. Who was possibly already dead but still aging well, alongside the uniformed sound-maker DJ UK 1 alongside the hot, dancing paw prints and clawed, eye scratching glare of Kitty Rodriguez and the sugar skulled sweetness of Julie Mendez. Taking our attention, desire, admiration and evil thoughts the Bitch was unleashed.
She teased us; opening with Six Inches of Death, the dancers weaved their spell as the creepy black hatted undertaker sat smitten acting out the enamored throws of his insidious obsession with her. ‘You can’t buy me, you can’t hit me or have me’ said the Bitch in a soft soothing voice surrounded by an industrial street walking beat before she killed the pimp. The laws of the street, spoken and unspoken represent the Cracked Covenant when the sun goes down and the nightlife comes out.
The synthesizer’s heavy keys were loud with angry guitars taking center stage behind the cyber industrial plates hammering and flame flying steel fabrication as she walked spreading her addictive Bullshit. The Industrial Bitch stated her loud mission statement, to which she’s ‘entitled’.
AKA, Shere Thu Thuy was born in Saigon and is currently the only Vietnamese female industrial Goth, cyber rock vocalist in LA beginning in 2011 with concerts at The Whisky, Bar Sinister, Club Addiction and Club Sacrilege.
Ginger V’s: www.facebook.com/officialgv West Hollywood vaudevillian assault brings behind him a wealth of theatrical experience, performance and a group of strong/like-minded musician’s looking to rock the musical cradle a bit in favor of Marilyn Manson, NIN, The Beatles and Bowie.
After a few moments of creative-technical difficulty, not every great show is perfect; they broke into some Bohemian Rhapsody. Ginger might be the king or ‘honorary Queen of the damned’ according to his dark cabaret inspired music and imagery. They started the originals with a preview of The Culling EP due out in September with Everything is Fine. Ginger went back to 2011 and his Atlanta recorded debut on The Fake & The Fabuless and sang a twisted but true tale of life/career fakery in fame’s name from the broadcasted fairytale on the TV/movie screen to the tabloids, with a clever sprinkling of jaded cynicism and underground laughter.
The perky vaudevillian piano keys joined by guitar on Reprise blended with Gingers low-throated vocals while the ‘next big thing’ got ready for their big scene. Guitars screamed and whined telling the musical tale as vocals get angry, yelling about the price that’s been paid. Going old-school to one of the original places of infamy we revisited New Orleans and the House of the Rising Sun. Keyboard synth started the Deaths Head Romance, the crash and burn lasts MUCH longer then the infatuation… run, before she raises the open covers and offers. R. Velveteen went a more Goth, industrial dance floor route, selling the world’s oldest well-used service.
They finished with another taste of the Culling and a killer Virus. Ginger V takes the elements of Ziggy Stardust, the best of Manson’s Holy Wood lyrically exploring the most grotesque corners/moments of its golden age. Glitch Nix, Jimmy Zee, Siris Nihil and Ferny Blasphemous help bring this skillful, sophisticated, musically attractive, lyrically sporting Hollywood’s ‘face value’ vision into the bright lights when the camera’s on back to the depressive, addictive, fame starved dark corners of broken hope and dreams when the crowd goes home.
To end the show the best way possible, with a debaucherous, treacherous walk down the left hand path, former Dawn of Ashes/current Urilia www.facebook.com/URILIAband front man Kristof Bathory joined the brood onstage to finish the evening in devilish fashion.
Photography by Mike Ritchie www.facebook.com/mike.ritchie.338
Read more from the pit articles and reviews by Mike Ritchie on his web site www.coveringthescene.com
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