The fourth in an occasional series of handy bite-size reviews of recent concerts I haven’t got the time or the energy to write more about.
FM Einheit, Vienna Fluc Wanne, 5 October 2010
Enjoyable evening of metal-bashing and whatnot from the ex-Einstürzende Neubauten man. Einheit had kitted out the venue with long metal coils suspended from the ceiling, and played them with mallets and hand drills to the accompaniment of backing tapes. He also made the already dusty atmosphere of the Fluc Wanne even murkier by pulverising concrete blocks into rubble. It was all very industrial, but I can’t help feeling that the moment for this kind of thing has come and gone. Neubauten didn’t replace him, after all. Plus, it wasn’t Mufti’s fault but this concert had the most annoying audience member I’ve ever had the misfortune to encounter, a bloke down the front who insisted on dancing – dancing, I tell you – and shouting incomprehensibly throughout the entire set.
Full Blast, Vienna Porgy & Bess, 18 October 2010
The incomparable Peter Brötzmann returned to Vienna for the first time in a year, this time with his Swiss rhythm section of Marino Pliakas on bass guitar and Michael Wertmüller on drums. The trio was augmented on this occasion by the ubiquitous Ken Vandermark on reeds, plus an additional trumpeter and percussionist. Unusually, the first half of this evening was devoted to a composed piece by Wertmüller, who conducted energetically from his drumkit. It was something of a surprise to see music stands onstage at a Brötzmann gig; he didn’t have one himself, of course, but all the others did.
It was “as you were” after the interval, as the sextet launched into a furious, raging improv. Great to see Peter end the set by jumping into the air on the last note, just like Springsteen with his guitar. Except for a blistering duet with Brötzmann in the second half, I felt Vandermark struggled to make his presence felt in this context.
Terry Riley, Vienna Porgy & Bess, 23 October 2010
A grave disappointment, this. I went along on the basis of Riley’s peerless reputation as a minimalist composer, rightfully gained from his seminal works In C and A Rainbow In Curved Air. But on this occasion Riley proposed a series of shortish, dreary piano pieces, with meandering and soporific accompaniment from Talvin Singh on tabla and George Brooks on saxophone. I’m out.
Naked Lunch, Vienna Arena, 30 October 2010
This was the first time I’ve seen Naked Lunch do a proper show of their own, rather than play the Universalove soundtrack. It was a superb, engrossing performance. Oliver Welter prowled the stage intently, his haunting voice tracing patterns of love and loss around the emotionally dissonant forces unleashed by the music. There’s a troubling, volatile core to this group; the songs obey many of the rules of alt.rock, yet they contrive to keep the listener off balance with their jagged, restless qualities.
And by the way, am I really the only non-Austrian who thinks Naked Lunch are great? Apart from the growing pile of unread and uncommented-upon reviews on this blog, I’ve never seen a single word written about them in English.