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Reviews of Glasgow SECC 14 May 02

Glasgow SECC – 14 May 2002
Rocksound (Issue 38) – July 2002

UK metallers Raging Speedhorn blaze through a brutal and urgent sounding set to a still half-full venue, but such is the beauty of being the opening band. Anticipation grows with American Head Charge, and so it should. Their FNM-influenced metal sound produces a lethal concoction that demands attention. The seven-piece give it their all, with the audience reciprocating, especially to blistering versions of ‘Violent Reaction’ and ‘Just so you know’. Till Lindemann the shorn-headed frontman of industro-gothic-metal sextet Rammstein enters the stage with a smouldering heart and sets the agenda for the Teutonic nihilists. Militaristic marching sounds leads into the sublime ‘Links 2 3 4’. Part-whispered, part-growling gritty Germanic vocals, together with glorious triumphalist music, make this an exceptional number. The current album’s namesake ‘Mutter’ is introduced by more considered and gentle tinkling guitar and a sea of dry ice. With chants from the vocalist and audience alike this more emotive, multi-layered song builds into a powerful, sweeping and grandiose number. Rammstein’s obsession with all things fiery and explosive becomes apparent as sky-scorching pyrotechnics intermittently blast out during ‘Du Hast’. Stickman Schneider’s slamming rhythms and the dual razor-sharp riffs drive this immense number, while the frontman propels red-flamed rockets from his hands over the heads of the audience. During the S&M- themed ‘Bück Dich’ (Bend Over) the gimp-like keyboardist comes centre-stage. Taking the appropriate position. Lindemann simulates sex with him, ceremoniously showering him and the audience with man-fluid from an unfeasibly productive strap-on phallus, very homoerotic! The melodramatics continue in the band’s veteran theme song ‘Rammstein’, in which the frontman is clad in the trademark blazing coat and red laser eye, looking every inch the malfunctioning cyborg. ‘Sonne’ is impressive – but it’s the current single ‘Ich Will’ that prevails with a blitz of lethal chords and pseudo-operatic samples. The band concludes their domination with their techno-rock interpretation of Depeche Mode’s ‘Stripped’. An orgy of dynamic theatrics, and quite literally an explosive performance.
Duncan Bryceland

Powerplay - Review of Glasgow SECC

Words & Pix by Glenn Butler
Powerplay Issue #35 – July 2002

Raging Speedhorn opened the night’s proceedings and looked very out of place on such a large stage; Frank Regan and John Loughlin literally running to cover the stage floor and sing at the crowd that appeared to be anything but interested in what they were doing. The band gave a good account of themselves, playing some bruising tracks, however the SECC wasn’t kind to them with poor sound and a disinterested crowd, a crowd that actually made more noise to Limp Bizkit whilst Raging Speedhorn’s gear was lugged off stage than while the band played. Although it was booing, it did prove that there was going to be some noise made for the night.
American Head Charge were next to play and were amazing on stage, both in appearance and musically. The first couple of songs really had the crowd slamming and jumping about to the noise coming from the American lads. Unfortunately they lost their way with some songs. What started off as foot stomping, hands in the air anthem style songs ended up as long, drawn out arty noises. The band captivated the crowd for the first few numbers but spent too long between songs and an annoying industrial noise instead of any dialogue added to the crowd’s disinterest. Songs such as “A Violent Reaction”, ”Just so you know”, ”Pushing the Envelope” and ”Seamless” had a positive response from the crowd and the crazy dress sense of the band combined with their onstage antics entertained for a while. But that wasn’t enough to keep the packed house from milling about and generally waiting for the headliners to appear. It was a disappointing performance from American Head Charge who had started with so much promise.
The house lights were turned back on while the final checks on the stage pyrotechnics were completed prior to Rammstein taking the stage. By the time that this was done, the crowd had packed the venue and were anticipating the show of their lives. Rammstein didn’t disappoint. They launched straight into the special effects with Till Lindemann appearing with a flare in his hand only moments after hitting the stage. That was to be typical of the band’s performance. Musically as sound as any of their albums and with songs that were designed to get the crowd marching or at least thrusting their hands into the air. Rammstein held everyone’s attention. And if the music didn’t grab the crowd’s attention, then the special effects had everyone watching the stage; burning microphone stands for Paul Landers and Richard Kruspe-Bernstein to sing into, head gear that also doubled as flame throwers, guitars that fired flames, flares of different colours fired into the crowd during some songs, Till singing while his jacket burned, and no small amount of floodlights, spotlights and smoke. Without any music, the visual spectacle was awesome and kept the crowd eagerly waiting for the next explosion or special effect to happen.
Rammstein wove their brand of industrial and techno music to perfection to accompany the light show. Starting with the classic songs Halleluja!, “Links 2 3 4”, “Sehnsucht”, “Du Hast”, “Asche zu Asche” and then mellowing into slower tracks ”Rammstein”, “Mutter” and Engel, with it’s trademark whistling. The band worked the crowd into an absolute frenzy with a barrage to the senses for one and a half hours. During the main part of the concert no dialogue was forthcoming between the band and the crowd as Rammstein let their music and stage show talk for them. The fact that everything was in German didn’t stop the audience from singing along or understanding Rammstein’s messages. Till marched around the stage, singing and dodging flames from various sources, namely Paul and Richard, whilst the rhythm section of Oliver Reidel and Christoph Doom Schneider provided a pounding back beat for the twin guitar assault. When not behind the keyboard, Christian Lorenz ran about the stage, appearing centre stage at one point for a brief ‘jig’ and later to indulge in a sexual role play with Till. Till culminated the act by firing liquid from a groin attachment over himself and the crowd. A very bizarre act.
Till finished the main part of the show with a very hearty thanks to Glasgow, “Thank fucking you Glasgow”. Some of the only English spoken all night and it was greeted with a very rowdy response from all in the venue. However, Rammstein weren’t through with the show. Not one but two encores followed with the first airing another couple of lively numbers, ”Ich Will”, the new single, followed by ”Sonne”. Both songs were accompanied by the same enthusiasm from band and crowd alike. The second encore only contained one song ”Stripped”, which was the only one sung in English and it brought the house down. A fitting end to a great performance by Rammstein.
A score of 9 Powerpoints awarded.

© 2005 Sue Lindemann