| dsoaudio | gig reviews | Infest 2024: Rein/Hatari/Xotox/Republica/Plack Blague/Emmon/Kollaps/Ductape/Divine Shade/Dancing Plague/Llumen/ICD-10/Matt Hart/The Royal Ritual/Agency-V/Mark Hex - St. George's Hall, Bradford

Friday 23rd

Matt Hart (UK)

My first time seeing Matt Hart and in many ways the ideal Infest opening act. His scene-setting intro echoed the message from the future from John Carpenter's Prince of Darkness - this is music from 3808 (allegedly). His absolutely terrifying-looking hooded guitarist had a problem keeping in time with the backing track at the start of the set, not that I was going to point that out to him, but the energy Hart put out carried it through. Hart's repertoire is a fairly familiar melange of EBM, industrial and some harsh electro influences and styles given a 'futuristic' twist. Hart won the 'Throwing Things Into The Audience To Get Them Engaged' award and it did the trick. He went down just about as good as any opening act could hope for.

Setlist: To the Core, Black Abyss, Rotations, Last Rave, FEAR THE HYBRID, Terraform (Variant) Terrorfying V2

ICD-10 (Germany)

Rythmic noise, IDM, industrial techno project from Marburg, Germany, comprising Henning Hinck and Thorsten Felix. Thump, thump thump. I'd briefly checked them out on YouTube in the run up to the festival, and there's either two different bands with the same name (seems a tad unlikely) or their style has changed over time or varies a lot. Which one were we going to get tonight? The one with a lot of drums and guitars or the other one? Thankfully, it was the other one.

They're on the Hands label - a regular supplier of acts to Infest down the years - so once that fact was established I knew what ballpark we were going to be playing in. When introducing the band, the compere said "I hope you brought your ear plugs, I just brought my sunglasses!". It was loud but not ridiculously so. And the quality of the venue's PA system meant the sound was fantastic. Honestly, I don't think Infest has ever sounded so good. I'm partial to a bit of all the aforementioned genres, so I expected to like this a lot more than I did.

For me it all got a bit samey after 15 minutes. I could have used more space in the tracks, or at the very least a significant change in BPMs. So I chose to sit through the remainder of their set at the back of the hall, thinking I would get a few minutes rest, when in fact, the drums and bass were amplified through the hall as they physically reverberated through you.

Setlist: I don’t know - but if the BPMs varied by more than 1% during the set I didn’t spot it

Republica (UK)

I'm one of those that only remember alternative rock outfit Republica's mid-90s hit singles Ready to Go and Drop Dead Gorgeous. But I've seen lead vocalist Saffron Sprackling active on Facebook so I knew they were releasing new material and gigging again (apparently since reforming in 2010). Would I have gone to see them if they weren't performing at Infest? No. But I was open-minded and curious to hear what they'd sound like live.

Republica Infest 2024 - 23-25 August 2024

Photos: [L-R] ICD-10 (Photo: Rob Dyer), Republica x 2

Unfortunately both for the band and the audience, their set was plagued with sound issues that appeared to be coming either from Saffron’s in-ear and/or stage monitors. Basically, she couldn't hear herself. A total nightmare for any lead vocalist. After opening number Bloke, they stopped whilst the tech guys did their best to resolve the issues. This seemed to take an age, but it did mean we got a heartfelt and hugely entertaining (if slightly rambling) 'thank you' speech from Saffron during which she said how much the band appreciated being at Infest, in front of a genuinely alternative crowd.

She name-checked Cabaret Voltaire, Kraftwerk, Depeche Mode and Gary Numan as all being big influences in her youth. "Thank you for inviting us to be part of YOUR crowd" she said, then went on to praise the magnificent venue - saying she was relieved it hadn't "...been turned into flats" like so many other prime city centre real estate. During her chat she kicked over her drink. "Can I get a drink?" she shouted backstage. Their guitarist stepped in, giving Saffron a bottle of water. "Thanks babe, but I need alcohol!" came Saffron's response. Hilarious - but at least she was honest!

Founding member Tim Dorney left the band just recently, but the current live band were seriously tight and otherwise sounded properly polished. They were also a lot heavier sounding than I was expecting so what, on paper could have looked like a token 'former big name' booking, actually blended into the festival lineup just fine.

Saffron's unfiltered, heart on sleeve honesty would have won over even the harshest critic. In spite of all the sound issues her vocals were strong, but wavering by the time they got round to Ready To Go which closed their set. She clearly loves her audience and is appreciative of them. She was bonkers, endearing even (though she'd probably hate to hear that), but it was great entertainment. The sound problems meant they had to cut their set short by a couple of songs, but it didn't matter. They received a rapturous response from a clearly appreciative audience.

Setlist: Bloke, From Rush Hour With Love, Out of the Darkness, Drop Dead Gorgeous, Picture Me, Christiana Obey, New York, Hallelujah, Rollerskates, Ready To Go

Intermission
As this was the second year of being a multi-venue festival, there were three other acts performing as part of Infest 2024 in aftershow events, but in the nearby Nightrain club venue rather than the main hall. They were Agency-V (Friday), The Memepunks (Saturday) and Corlyx (Sunday). I skipped The Memepunks (having had my fill of them in London a couple of weeks ago) and Crolyx clashed with DJs I wanted to hear at the festival's third venue The Underground.

Shortly after the main act finished each night, partly for logistical reasons (so drunk alternative types didn’t get lost!) and partly for safety reasons, the organisers rolled out the Infest 'Doof train' (a boombox on a trolley followed by a cardboard box train, punching out everything from The Vengaboys to my personal favourite: SNAP!’s Rhythm Is A Dancer for punters to follow to Nightrain for the aftershow where Agency-V were due on stage.

Agency-V (UK)

Formed during the ghastly lockdown days of Covid-19, Agency-V are a trio comprising Marie Williamson (lead vocals), Lloyd Price (synths and programming) and Peter Steer (guitars and backing vocals) delivering electronic rock. Aside from hearing a teaser for their latest single I'd not actually heard Agency-V before tonight, but I know members Peter Steer and Lloyd Price well from other scene incarnations including Steer's Tenek project with Geoff Pinckney (documented elsewhere on this site both live and recorded) who played at Infest in 2012, and Price's The Frixion and Massive Ego - who performed at Infest in 2016.

Agency-V Infest 2024 - 23-25 August 2024

The Royal Ritual Infest 2024 - 23-25 August 2024

Photos [L-R]: Agency-V (Photo: Kevin Stevens), The Royal Ritual x 2

Oddly, the Nightrain has just about the worst architecture possible for a live music venue. A low ceiling, and a huge vertical steel girder slap bang in the middle of a very low-level stage. But none of this put off the punters. Within 10 minutes of arriving the venue was virtually packed front to back. So Agency-V had a big, and up-for-it, crowd to play to. "We're Agency-Vee not five!" said Steer to avoid any confusion. Which was just as well, as I thought it was pronounced "Five".

Despite the low ceiling the sound in the Nightrain was pretty decent, and the band didn't let any of these architectural challenges dampen their performance. Far from it, the show they put on was professional and polished. This should come as no surprise to anyone also familiar with Steer and Price's previous projects. Although they formed back in 2020, this was only their third live gig, so if they're still finding their way live it didn't show. Stand out tracks for me were Paranoid, Some Kind of Game, and This Time (all of which appear on their debut EP No Divide).

Setlist: Intro, Give It Up, Paranoid, We Can Erase You, Some Kind of Game, Never Meant to Be, Freaking Out, Pray For The Sun, Dangerous Ground, This Time

Saturday 24th

Just as I sat down for breakfast in my hotel, Moby’s stirring Into The Blue started playing. I took this to be a good omen for the day ahead. And, indeed, it was.

The Royal Ritual (UK)

From my brief pre-festival listening, today's opening act The Royal Ritual was the one that stood out the most for me. It's rare that an artist ticks so many of my personal taste boxes, which are quite varied. Created by David Lawrie not long ago, his first release was the two-track Pews In A Pandemic in 2021. A two-piece live, Lawrie is a multi-instrumentalist (vocals, synths, drums and guitar), joined by Dan Kentley on guitar.

Rather than rely excessively on backing tracks, Lawrie gradually built up track elements live, sampling sounds and percussion and then looping them. That's still all too rare on the live electronic scene and can only be done when you a) have the technical and musical skill, and b) the confidence that you can pull it off live on stage. Easier said than done, which is why so few attempt it. It isn't often you see an opening act and are so struck by their originality, and this was executed brilliantly.

Lawrie's recorded work often employs a dulcimer, amid the raft of other equipment, and there are few instruments that can conjure up such a mesmerising sound. It could be heard a couple of times on the backing track today. Everything from the visuals, through the presentation and live performance itself operates on a higher level than many of those around them on this scene. The very measured, mid-tempo set was an unusual and brave choice at an event like Infest, and very much welcome and appreciated. (It was only after the gig that I realised the majority of The Royal Ritual's output operates in that mid-tempo zone.)

There's more going on here (often in a single song) than in a dozen other acts out there. Lawrie's approach to writing results in richly layered compositions. He graduated with a Master's degree in music production from Leeds Conservatoire, building a career first in Northern California and now back in Northern England. Oh, and he's got a terrific voice too. Is there anything this guy is musically poor at?! Having worked so extensively helping other artists achieve their vision, I suspect The Royal Ritual has been fermenting for years, which is why the ideas, and philosophy are way more mature and fully formed than most. The hair on the back of my neck was standing up for the epic closing track Coma.

Divine Shade Infest 2024 - 23-25 August 2024

Photos [L-R]: Llumen, Divine Shade x 2

Since returning from the festival, I've been listening to The Royal Ritual entire back catalogue (which includes a Phillip Glass cover) and I'm loving every minute. Comfortably my 'number one new musical discovery' of the festival, and I pray that this is just the start of a long career for the project. David Lawrie has it all: the natural songwriting ability, the style, the voice, the creativity, the technical ability and the musical prowess. The Royal Ritual is an utter revelation. My Infest buzz had officially returned. Yay!

Setlist: Vantage.point, (Nothing), On The Other Side, Pews In A Pandemic, Martyrs, Modes Of Violence, Coma

Llumen (Belgium)

Llumen is the musical alter ego of Pieter Coussement from Ghent in Belgium, who has released three albums since 2017 all on leading Belgian electro label Alfa Matrix. The third LP The Breaking Waves is representative of the niche the label has carved for itself.I thought I was seeing double at first. Two, apparently cloned, bearded, bald-headed men took up positions behind an identical synth setup on either side of the stage. Coussement then walked on and stood up front delivering the vocals. I'm a sucker for a bit of on stage symmetry.

They had a problem getting their back projections up and running during the first couple of tracks, but their stage set up and the light show worked fine enough. When they did come, the visuals were worth the wait. Black and white footage of women working in factories, esoteric machinery moving, and electrical equipment carrying out odd experiments. Soundwise this was very much in the future pop/dark electro field, with lyrics sung in German and English, that fans of other Alfa Matrix artists ought to appreciate with ease. Touches of Diorama, Assemblage 23, Covenant, were evident, with today’s set focusing heavily on their current album The Breaking Waves released earlier this year.

Setlist: At Nadir, Bring Me Flowers, Lifeline, Polygon Heart, Just A Thought, Die Stille Totgeschwiegen, Like My Pain, Desert Land

Divine Shade (France)

French band Divine Shad'’s attention-grabbing claim to fame to those who, like me, knew little of them before today, was they were the support act for Gary Numan on his 2022 UK tour. That achievement must count for something. And clearly it does. A drums, guitars and lead vocal+keyboards three-piece live setup, Divine Shade's first track Hate and Oblivion, was a rock (pun intended) solid opener with a good introduction. One song in and it was already easy to see how they got that Numan support slot. A thunderous drum kit creating powerful soundwave punches to the guts.

Since releasing their first material a decade ago this year, their sound has steadily gotten heavier, more rocking and guitar-led writing coming to the fore. I prefer the older material found on their first two EPs (From The Sky and Ashes, made the cut today) than their current rockier sound, and they're one of those bands that I probably prefer listening to recorded rather than live, but they were a good choice for raising the temperature on Infest day 2.

Having just their name projected in white block caps on black background behind them was a cool touch. Shades of Killing Joke there.

Setlist: Hate and Oblivion, Ruines et Cendres, From The Sky, Stars, Oublier, This Love Is A Weakness, Ashes, Heaven, Show Me The Way

Ductape (Turkey)

From the opening moments of their set, there was definitely a touch of Xmal Deutschland in Turkish two-piece Ductape’s sound. Opening track Sinners was a cracking way to introduce themselves to newbies like me. There's an undeniable blend of 80s influences at play here, but this wasn't riding some kind of retro nostalgia wave, as they stamped their own contemporary perspective on everything.

Photos [L-R]: Ductape (photo edited by Rod Dyer) + Ductape, Kollaps

Across their entire repertoire, the guitar sounded VERY 80s goth with lots of echo? reverb? - that swaying in and out sound. I could have done with the volume through the PA being louder. Some Siouxsie and The Banshees in there too. Çagla's voice occasionally has echoes of Siouxie but is its own thing. I loved hearing those simple 80s bass guitar lines too - it would have been nice to see those performed live as well - flashback to fond memories of seeing bassist Manuela Rickers on stage with Xmal 40 (gulp!) years ago. Even the production/live mix sounded authentic 80s. Zeus B Held would have remixed Ductape to high heaven back in the day. Speaking of which, the dry bass drum and muted snares sounded like they came out of an old Roland drum machine. All very in keeping then.

I use all those personal 80s references merely as a shorthand for fellow newcomers of a similar vintage to myself. There's a lot more to Ductape's music than that might imply. Once again, we got more black and white only projections - again featuring the band's name - this was becoming something of a theme with the visuals this year. Their entire set was energizing. Another great discovery delivering a new buzz inspired by the old. This was trilling stuff. One of the highlights of the entire festival for me.

Setlist: Sinners, Never, The Unknown, Closer, Sevmiyor, Hatirla, Anafor, Veil of Lies, King, Fire, Red Scar

Kollaps (Australia)

Having received a couple of friendly warnings about what to expect of them, Australian outfit Kollaps are, as someone commented on their Facebook page, "A-class fucking industrial". Or post-industrial according to the band themselves. Either way, this was punishing loud noise. I was apprehensive beforehand, in part anticipating a possible ear-bleed volume and in part because a lot of the harshest noise doesn't really do much for me these days.

Kollaps had also got the 'black and white visuals only' memo, but this time these were (as anticipated) peppered with a montage of the horrifically graphic traumas mankind can reap upon itself. Nevertheless, the overall effect wasn't quite as relentless as I feared. I was reminded of the old school 'proper' industrial bands from the late 70s/early 80s - something I was generally more open to in my youth. With no front lighting and minimal use of coloured lighting for the duration of their set (red and white lights only), this deliberately placed the band in perpetual silhouette or, at best, bathed in blood red. When it was just white light (which it should have been throughout) it was as if the figures from the cover of Killing Joke's eponymous debut album had come to life, leaped out and were coming to collect for all the sins our fellow humans have inflicted on this earth - but with so much more brutality than they ever had as still images.

Kollaps are the kind of act that, had they been around in that early wave I'd most likely have taken to more readily than the 57 year old, world weary, despondent and exhausted form of man I am now does. I wasn't sure if it was lyrics, or just the singer responding to cheers between songs, but we got "Shut your fucking cunt face" screamed at us a few times. A welcome jolt of a reality check and a typically 'Infest Moment'™. A brutal, and potentially fatal, gut punch to us all.

Photos [L-R]: Kollaps, Rein x 2

I might never go out of my way to experience Kollaps again, but as a life experience it was up there with seeing Stan Brakhage's The Act of Seeing With One's Own Eyes at the Scala Cinema in the 1980s - when I begrudgingly had to leave the auditorium, promptly passing out in the foyer. Did I 'enjoy' Kollaps? Absolutely not. Am I glad I saw them? You bet.

Setlist: Cancer/Hiroshima Winds #2, Hate Is Forever, Crucify, Blood Premonitions, D-IX, I Believe In The Closed Fist, The Hand of Death, Iron Sight Halo

Rein (Sweden)

Or when an act you've never seen before lives up to the hype. Well produced, punchy, polished, professional and some cracking tunes too. What more could you reasonably ask for? Rein is a Stockholm based electro artist, producer, singer, songwriter, performer and record label owner, currently supporting Front 242 on their final live tour in Europe. Impressive? Yes. A surprise based on what we say tonight? No.

She was due to perform at last year's Infest, but had problems getting into the country, so for many this was an overdue Infest debut. Rein has an uncommon blend of mainstream stylistic production elements and EBM beats and rhythms. Some in the audience found the finished product overly 'packaged', but though not giddy headed by it all, the impact was undeniably strong and I really enjoyed her set. I liked how she changed her vocal style to match the song type, harsh for some, more melodic for others. Her material prior to the latest album God Is A Woman, especially REINCARNATE, was the best of the set.

Sunday 25th

(Quick aside, there was no need for the organisers to use the Clashfinder website as the only potential clashes were between the three aftershow party bands at the Nightrain and DJs at The Underground - NOT between bands and bands. When I saw they were using Clashfinder and it was now a multi-venue event that just made me think of those bigger festivals where the artists themselves are split across multiple venues and you know that inevitably means clashes. If that were the case then, sure, Clashfinder serves a purpose. Here - I don't think so. There's really no need to use it and flagging it up front might actually put some people off attending.)

Mark Hex (UK)

In the tradition of Billy Bragg, Mark Hex puts social commentary poetry to an electric guitar. Although this was my first sampling, Hex appeared online as part of the Stay-In-Fest lineup in 2020. First song Bomb Threat purportedly about a restraining order his former girlfriend has on him, while Pilled Up Wankers had some lyrical gems including: "Builder wankers everywhere talking to me like I care". The audience was noticeably thin for Hex, but this is always the toughest slot of the weekend to fill.

3 Days was the first song to use a drum machine and gave the set a very different and slightly more in-keeping sound. By the time we got to the entertaining set closer Kill Your Boss, with its 'Eat the rich' inspired lyrics: "Chop them up, fry them up, eat them up", Hex had warmed up a growing crowd and they showed their appreciation for his gentle awakening to the third and final day of the festival.

Setlist: U OK, UK?, Bomb Threat, The Day Steve Albini Died, Crabbit, Pilled Up Wankers, 3 Days, BDL, Bully The World, Jerry, Kill Your Boss

mark Hex Infest 2024 - 23-25 August 2024

Dancing Plague Infest 2024 - 23-25 August 2024

Photos [L-R]: Mark Hex, Dancing Plague x 2

Dancing Plague (USA)

Yet another act I'd never heard. A friend beforehand said she wasn't sure about his voice on recordings but once she saw him live she was convinced. I then saw precisely what she meant. Dancing Plague is a one-man operation, namely Conor Knowles from Portland, Oregon. There's a LOT of angst in his voice, lyrics and delivery. Overwrought some might say, and it would be hard to argue against them. But I'll take raw, genuine emotion any day over bland, homogeneity any day. And few acts, even at this year's Infest, can match Knowles' emotion.

One guy alone on a big stage with a mike and one keyboard. This had every opportunity to fail. Instead, this was immediately arresting, getting a huge and vocal seal of approval as soon as the first song was over. Knowles reminded me a little of Claus Larsen from his early years as Leaether Strip. His passionate delivery showed he has plenty invested in the work and an audience can sense that. The Infest crow clearly felt and appreciated it.

I usually take the pre-festival band bios on the Infest website with a pinch of salt but this extract: "Expect inconsolable vocals and hard beats, with soaring strings and incredibly catchy hooks." was spot on. Some seriously head bobbing basslines throughout the set, and I especially loved the fact that most of his material (in today's set at least) was mid-BPM, increasingly a rare treat these days. One of the acts I've listened to extensively since returning home from the festival. One more personal highlight from 2024. Excellent.

Emmon (Sweden)

Unlike 90% of attendees, Emmon (aka Emma Nylén) was, for me, the best-known act in this year's lineup. That's because record label Wonderland sent me some releases for review, beginning with her Rock D'amour single in 2007. But it was the 2009 album Closet Wanderings with elements as wide ranging as hi-NRG, disco, electropop and moody film soundtrack-like instrumentals that made an indelible impression on me (an album I still regularly play to this day).

I'd lost touch with her work, but it turns out that was partly because she took some time off starting in 2014, only returning to the stage supporting Nitzer Ebb in Stockholm in 2019. Billed and introduced as 'synth pop' but that doesn't hint at what Emmon delivers. Cited as electroclash back when that term was trendy, gives a better feel for what to expect, but her more recent writing has a harder EBM edge to it and, I think, caught many in the crowd off-guard. Chatting to others afterwards, it was clear that Emmon had instantly made a strong impression on the Infest crowd and was a contender for 'new discovery of the festival' for many.

The music and beats may be much harder edged than when I first heard her, but Nylén's strong melodic vocals remain firmly intact. She has a great voice, a captivating stage presence and got the audience involved, not that they needed much encouragement. They voluntarily cheered, whistled and waved their hands as any artist performing in a country for the first time could wish for. Mission accomplished - and one of my top acts of the entire weekend.

Setlist: Skin, Reconstruction, Tha Game, Cold Within, Machines, Dark, No Man's Land, Pure Bloods, Hard Drive, Like A Drum

Plack Blague Infest 2024 - 23-25 August 2024

Photos [L-R]: Emmon (photo edited by Rob Dyer), Emmon, Plack Blague

Plack Blague (USA)

Will I never learn not to judge a book by its cover? Having not done any audio homework on Plack Blague before tonight, and based solely on the band photo on the Infest website I was expecting (indeed hoping) for some Hi-NRG, a la Man2Man Meets Manparrish’s classic Male Stripper. Boy, was I wrong!

This was powerful no-holds-barred leather EBM, borderline noise at times, and ballsy (ahem) as hell. Punchy music aside, their live delivery was exploding with energy and passion. Plack Blague was another great choice for the Infest crowd and went down a storm. Another black and white, minimalist name only backdrop too. Definitely one I’ll be looking out for live again.

Xotox (Germany)

Knew the name but not his work. Xotox is a solo industrial noise project from Germany started by Andreas Davids in 1998. He's performed and DJ'd at the legendary Slimelight in London several times down the years too. So I was kinda late to the party on this one. Joined on stage by his wife Claudia, this started out deceptively 'easy going' with the vibe and sound of old material. It thunders and rumbles with pure darkness, combining with rhythmically twitching beats and haunting synth pads.

I was in the photo pit for the start, but this worked better from a distance. Outside the UK I'm guessing he regularly plays in cavernous abandoned buildings in industrial wastelands, but today in somewhat incongruously luxurious environs of St. George's Hall this was still menacing. A new track, Niemandskind, had never been performed live before and was excellent. He introduced it as "A bit cheesy" when dedicating it to his Natura Est band partner Tony Young who was in the audience. None of it. It was a highlight of the set for me with an almost vaguely chiptune melody riding atop the brutal percussion. "You like it?" he asked afterwards, as if seeking our approval. The roar of appreciation confirmed that we did indeed like it.

Then, as if to keep the hardcore fans on side, he immediately switched into excessive BPM noise. I headed out to get a drink before the end of his set and, frustratingly, missed his ever so tempting-sounding cover of 'the world's first hit electronic single' the 1969's classic Popcorn. It was made into an even bigger hit in 1972 by Hot Butter. Maybe it's time Xotox brought it back to the top of the charts where it belongs!

Setlist: Hymn For The Undead, Xotoxikologie, Fuck You Very Much, Sla Tillbaka, Schwanengesang, Die Neue Normalität, Eisenkiller 2K12, Niemandskind, Leben und Sterben Für Musik aus Strom, Ich Funktioniere, Die Strömung der Welt, Notwehr, Existenz, Popcorn

Photos [L-R]: Plack Blague, Xotox x 2

Hatari (Iceland)

WTF?! A anti-capitalist techno+industrial+punk+aggrotech multimedia performance art project from Iceland whose members dress like BDSM Warhammer figures and (somewhat rather incredibly) have appeared on the Eurovision Song Contest (finishing tenth in 2019).

Their set began with a scrolling white text manifesto exposing the non-stop scam of capitalism we call reality. I can’t remember the last time I saw a manifesto before the band came on stage. My respect for them, before I’d heard a single sound, instantly rocketed.

Looking like they’d stepped out from some mad Japanese cyberpunk anime, this theatrical three-piece took up their respective positions. The statuesque spiked mask wearing Einar Stefánsson music controller standing over his table of equipment at the rear, whilst two vocalists stood front left and right of stage. On the left, founder member Klemens Hannigan - a slim blonde youth with an almost angelic voice. On the right, newest member Davíð Katrínarson - a stocky bald black dude straight out of Mad Max 2 fitted with a chest plate supporting his microphone, so he could stand, hands free, fists clenched by his sides whilst screaming anti-capitalist propaganda in Finnish. All of them clad in black rubber head to foot.

As something of a seasoned sceptic, I’m wary of any musician that spends an excessive amount of time on their appearance, since it’s usually a tactic employed to compensate for or is an attempt to conceal a lack of talent. Hatari, has both the talent and the look. Not only were the vocalists visually chalk and cheese, but audibly too. Hannigan handled all the higher register stuff with aplomb, while Katrínarson covered the lower register repertoire by screaming what may well have be profound lyrics - but my language skills were not up to the task. Quite impressively, he saw no signs of passing out.

Photos [L-R]: Hatari x 3

Maybe it was my world-weary scepticism, but I felt slightly amazed that this actually worked. Any number of genres get tossed into the mix if it serves their purpose, which is why you’ll hear hip hoppers praise them as much as the industrial fans. Their bass alone should come with some kind of health warning, threatening to shake us all sick at times. Across their musical spectrum they pull it all off, but for me, the slower, more moody numbers were the most effective. As a long-running Snog fan, I particularly appreciated Terms & Conditions of Svikamylla ehf. (Relentless Scam Inc.) - a parody of all those online terms and conditions we all blithely agree to without reading. If there was any doubt as to how committed the band are to their image, I noticed that even their sound engineer at the back of the venue wore a gimp mask throughout their set!

They closed one of the most bewilderingly captivating sets I’ve ever witnessed at Infest with their Eurovision hit Hatrið mun sigra. Seeing them afterwards at the merch stand sign posters, smiling, taking photos with fans and hearing them say "Thanks that means a lot!" when they got praise, immediately killed their on stage personas. I kinda wanted them to remain in character and be scary, but they were nothing of the kind. That’s how good they are at performing.

Setlist: Society of the Spectacle, Linnulaus Svikamylla, Ódýr, Tortímandi, Dansið eða deyið, Þræll, X, Spillingardans, Klámstrákur, Ógleði, Breadcrumbs, Terms & Conditions of Svikamylla ehf. (Relentless Scam Inc.), Engin miskunn, Cheap Perfume, Helvíti, Hatrið mun sigra

Wrapping up Infest 2024

Infest 2024 was first in six years - my biggest gap between events. It was a complete voyage of discovery on account of me being so unfamiliar with most of the artists. That lack of familiarity/discovery of the new is something I always look for from Infest, and I know that's something the promoters strive to deliver. It's like being educated by someone who understands your musical tastes and says "Hey Rob, you may not know them, but I think you'd appreciate them. Come, join us!". But for the first time, in my experience of the event, it felt like a lot of attendees were not familiar with the majority of the acts. As well, the lack of one or two instantly recognisable scene names felt like a shortcoming in the programming.

Of course, we don’t want a UK version of those German festivals that feature around 20 artists every year, of which only 5 seem to change each time (you know the ones I mean!). Infest punters have always been up for an education, but this year it felt like the 'Let us introduce you to….' element went a touch too far. It's no secret that attendance numbers are well down from what they have been in the past. From a purely financial point of view for the organisers, they could do with reintroducing some 'must-see' names to help move more tickets in advance, while pleasing a big part of the regular audience. (It's not like these are competing things.)

There's still plenty of big scene name acts that have never played the festival and would fit the bill perfectly. In the past they used to poll attendees for their votes on which acts to include in the future. I've not seen this for a while, but they should definitely use this mechanism to give them a clear sign on a couple of the fans' most popular acts to book for next year's event.

Talking of the future, the biggest news came in the final moments of Sunday evening when it was announced that Infest would be moving out of Bradford for the first time since its inception, down to Manchester University. This was for a variety of sound reasons I won't go into here, but was eminently sensible. I'm convinced the relocation to the better-known (and easier to get to) Manchester will alone help sell more tickets and maybe attract more first-timers to the event. The fact that over 100 early bird tickets sold out within a few hours of going on sale seemed to suggest the move to a new city will go just fine.

Change is the only constant, and Infest has always pushed the UK scene forward with its inventive programming. I can't wait to see what they have lined up for 2025. 8/10

Review: Rob Dyer

Photos: (C) Simon @ Disturbing (unless otherwise credited)

Official Infest website: InfestUK.com

See also:

Infest 2018

Infest 2017

Infest 2016
Infest 2015
Infest 2014
Infest 2013
Infest 2012
Infest 2010
Infest 2008
Infest 2007
Infest 2006
Infest 2003
Infest 2001
InFest 2000
InFest '99
InFest '98

Infest 2024:
Rein/Hatari/Xotox/Republica/Plack Blague/Emmon/Kollaps/Ductape/Divine Shade/Dancing Plague/Llumen/ICD-10/Matt Hart/The Royal Ritual/Agency-V/Mark Hex

St. George's Hall, Bradford - 23-25 August 2024

"A complete voyage of discovery"