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omegaremix · 2 months ago

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Cold Waves @ Warsaw; September 15 & 16, 2022.

If I told you that I was feeling shaky going into attending Cold Waves, you’d write me off instantly. Why would I still feel nervous about attending shows? Sure, the event is everything, but every trip to grandiose New York City is still a major thing for me. It’s still feels like uncharted territory and I’m still not over it but it has everything Long Island fails to provide: the venues, the people, the exciting energy, and an allure I still can’t put my finger on. It’s all for the taking, whereas on Long Island I had way more than enough. Also: anxiety. (Film at 5.)

I was only mere days away and I had to get ready for two straight nights of taking trains to and from Brooklyn. Cold Waves would be the third show I’d attend this year - fourth if I cared going to Ministry’s “Industrial” Strength tour which I didn’t go to. I was a frantic wreck anticipating this industrial legends / synthwave festival. The tremors in my black heart would stop only if I finally arrived at Warsaw. It’s my third visit there. The first was for Hospital Productions’ 20th Anniversary and the second was for Black Marble and Cold Cave on a hot June day - before my world, my momentum, and soul were all upended.

I don my black cap, a Clock DVA shirt, blue jeans, black boots and new black leather jacket. It’s sunny out, a hazy blue sky is being invaded by cumuluses all over the place - perfect conditions for an afternoon drive westward on the Long Island Expressway, down on Sagtikos Parkway, through Southern State to Rt. 231, and heading south to Rt. 27A to the Babylon station. I took no chances catching the earlier one-hour train to Penn Station, then hopped on the ‘E’ line to Court Square’s ‘G’ line to Greenpoint Ave. The train ride was bliss as hardly anyone was on it.

It was 6:15 PM when I stepped off the G and went upstairs to Greenpoint, my favorite Brooklyn neighborhood. It only took me 15 minutes to walk a few blocks down to Driggs Av. in Kings County’s Polish neighborhood. It’s only 6:30 PM and already I’m being greeted by a crowd of three at the very front of the line. One of them saw my DVA shirt and gave me two thumbs up. “Great shit, man!”, he said. I smiled and my heart rate went up 20.00% knowing I made the right choice of t-shirt for night #1 of Cold Waves. I found myself standing at the exact same spot on line more than four years ago when I waited to enter the venue for Cold Cave and Black Marble. It was that very corner where Wes Eisold stood with Genesis P. Orridge before that show. Doors open at 7 PM as all of us trudge towards the venue for our security checks before entering paradise where I’m immediately hit with the smell of incense, a special smell distinct to my Brooklyn travels and nowhere else.

The music existed before the beginning of time and it was pumping. No wonder - DJ Andi (Harriman) was behind the wheels of steel. She’s a fixture of the neighborhood where she fit perfectly with the industrialists and synth-wave demographic that populate there. With me being 15th in line, I won a spot up front. As always without fail. I was feeling great about what was about to go down for the next five hours. The first person I thought of was my Roman goth friend Lira* who I wished was there with me. She would’ve blended in with all these vampires, witches, and mistresses attending; many walking around wearing 242, Wax Trax, Pig, Pigface, Hocico, and Twin Tribes shirts.

7:45PM is here. The dee-jay fades out, the overheads turn off and the first act is ready to go. Cold Waves is finally underway.

Spike Hellis was the first of ten on the roster and kicked off the entire festival. The fresh Los Angeles duo have enjoyed a new sizable uptick of exposure. They were active and had lots of energy on stage; a theme that they’d set the tone for the entire program. Their fast-paced EBM, electro, and electronic hybrid was a fine example of the current sound that Los Angeles had to offer. Both Cortland Gibson and Elaine Chang traded instrumental and (screaming) vocal duties with each other while conveying themes of agony, control, rage, emotional despair, and submission that rubber-stamped their own pandemic-era, all accentuated at the end with an annoyed Chang dealing the finger to an audience member as the cherry on top. Who knows what happened there? What I do know was that someone threw an empty beer can at them during their set and security called him out on it; eyes and pointy fingers in his direction with a one-and-final warning not to do it again.

For those wondering why Rein is being highly praised all over, you’ll see why. One of two solo acts, Rein wasted no time taking the stage and it wasn’t long for her to show everyone why she’s one of the most talked-about synthwave acts of recent. It’s not just her razor-sharp EBM delivery and style but also her choreography which made her perfectly groove to the music. She can seriously move it like no other and also delivered plenty of hard-edged sounds of equal measure. It was more than enough to ask who the fuck Shakira was, because she’s got nothing on her. It wasn’t just Rein who was motioning to the music. I look to my right and seen a good number of people getting into it, too; such as the guy three spaces away from me who happened to be wearing a gas mask through her set. After she closed out her set came another intermission. The next three legendary acts have yet to come into play and right behind me are three belligerent drunks (one male and two females) fighting over who bumped into who, not saying ‘excuse me’, who stood where, and lots of name-calling and f-bombs lobbed at each other’s slovenly faces. Not a dull moment so far.

Portion Control was the third and most enduring act of the festival with their debut cassette release A Fair Potion dating all the way back to 1980. I’ve constantly heard of them through new-wave, industrial, and synthwave circles. It’s my first go at them and Wow. They. Nailed. It. They became one of the very few artists I ever discovered to give me a perfect example of everything I was looking for on the very first listen. Perhaps the hungriest, meanest, and venomous act I discovered live or not. I may have caught them at their best ever and it lead me to the three Seed e.p.’s. Onstage, Dean Piavanni was a vocally sinister, persuasive, and direct force who could’ve easily taken on the audience (and would’ve won); as Jon Whybrew was on the controls transmitting ultra-energetic and juiced-up EBM and industrial techno for the small masses. It was the most exciting payout of the night so far.

If there was ‘the’ reason that attending Cold Waves was an absolute must, it was the team of former Wax Trax and Ministry members Paul Barker and Chris Connelly. They are part of the reason why everyone had some of the best moments of their lives and made for some of the greatest industrial releases ever. Billed as The Revolting Cocks Corpse and in conflict with Al Jourgensen’s version of the band, it would be their last-ever appearance. I hate to admit, a scratch off the bucket list was long overdue and years in waiting. Now, here was my chance of seeing both of them live in one shot.

Want real-deal Cocks classics? You got ‘em. Paul Barker handled his iconic bass logo-ed with the Cocks’ Beers, Steers & Queers emblem on it before kicking off with “38” and brought out former Cock (Front 242’s) Richard 23 on vocals. After that comes Connelly onstage in casual wear in a trucker hat, jeans, and a shirt that’s scrawled “Strong And Pretty” on the front, so we’re getting the nutty version of him. Then the rest of the hits came rolling in: “Attack Ships On Fire”, “Cattle Grind”, “Crackin�� Up”. When Connelly asked himself out loud what else to play, the audience yelled “Let’s Get Physical” (rest in peace, Olivia Newton John). “Well, I didn’t ask for your help!” he said coyly to all of us and we couldn’t help but to laugh. They did cap off their monumental set with “Do Ya’ Think I’m Sexy” and it felt like a dream. Connelly leans on the speakers acting all cute and blowing kisses to the crowd with a smile. Before you know it, he’s laying on the floor with arms wide open like he’s just fallen in love as Barker and company call it a night. Nothing but good times and an ultimate culmination of their Wax Trax output as I hoped for.

Finally, it was Front 242’s turn to take the stage; the apex of an already high-flying night. It would be a bittersweet performance at that as this was one of many shows on what was their final U.S. tour. Many fans thought it was because of Jean-Luc De Meyer health issues but thankfully that wasn’t the case. No matter, it was everyone’s last chance in the states to catch them before leaving North America once and for all with no turning back. I considered Front 242 to be a bonus for me as I was heavily into their pioneering Eighties material during my community college years, their later albums, and C-Tec which De Meyer took part in. I had absolutely nothing to lose seeing them live. All throughout the night I’ve seen photographers-for-hire huddle around the space in-between the rail and stage getting their dozens of shots in. For Front 242, the three-song policy got extended to four. It had to be. Warsaw security managed to catch one snap artist who didn’t know better.“No flash! No flash!” they told him as they pointed at and called him out on it. Which also begged the question: where the hell is Brooklyn’s industrial / synthwave fixture-photographer Nikki Sneakers? It’s been at least five years since I’ve seen her shooting at venues.

Front 242 played their most-recognizable and popular classics that established and pioneered EBM with “Don’t Crash”, “Operational Tracks”, “U-Men” and many more. It was all Richard 23, De Meyer, and Patrick Codenys in their unmistakable iconic tactical outfits with a shirtless Tim Kroker on live drums. They took all the power and energy they had and kept it going all the way, delivering nothing short of a rhythmic and beat-heavy experience they were known for. One funny moment to be seen was when De Meyer stood cross-armed wearing his huge shades and had such a scowl on his face, looking all bad-ass as the other three carried on. After eight or nine songs, 242 left the stage - not to lock targets and catch men - but to gear up for their first encore. We all knew there was more to come and what came was “Headhunter”, one of industrial / EBM’s most historic songs ever written. Two more songs later and 242 left the stage again charging up for another encore. As soon as we all heard the soundbyte “Hey, Poor!”, it meant only one thing: “Welcome to Paradise”. Only then was the perfect Front 242 show complete. The team of 23, De Meyer, Codenys, and Kroker took in a lengthy applause and gave a standing ovation as they all thanked New York City and bid farewell. The lights turn on for all of us to head out of Warsaw. I turn around to get going and behind me I see a female fan being consoled by her husband - and she’s in tears. Either she finally fulfilled her life-long dream of seeing Front 242 or saddened that they would say goodbye and farewell to the states, never to return.

The first five acts were amazing. It felt like I did a great service to myself in attending. I already checked off all the boxes I wanted to: take mass transit, visit Greenpoint, see Barker and Connolly play, and be associated with my kind of people. A night out in Brooklyn never fails and the thrills would still continue after the show ended. There’s always the experience of taking the alphabet and number lines - taking the ‘G’ and then the ‘7’ line to walk from 10th St. towards the Empire State Building and then arriving at Penn Station all by one-in-the-morning. Like the ride from Babylon to Penn Station, the reverse ride was quiet and not as crowded as a can of sardines. More exhilarating was the ride from Babylon back home where all the roads were empty and quiet, leading up to driving east on a wide-open Sunrise Highway at three in the morning and getting home all in 25 minutes time.

Night One of Cold Waves was now in the record books.

**********

Friday afternoon? Well, what an adventure. I had no idea that traffic was literally paralyzed on Sagtikos Parkway. It was that point where I knew it would be down to the wire getting to the Babylon station. From then on, I was finding every inch I could to cut other drivers off, find detours, and get head-starts while waiting for green lights and cursing out turtle drivers. Traffic was tight and every decision counted. One minute I thought I was going to make it and the next minute I was doubtful. South on Commack Road, down Deer Park Avenue then Route 231, and finally to Route 27A where I was only a few thousand feet away from the station. I arrive at the parking lot across from the station, bolted out of my car, ran across the street and up the stairs like a motherfucker. I finally reach the platform and - it’s taking off. Fucking great.

I had one hour until the next train to figure out how to unfuck myself and get to Warsaw in time. I tried signing up for OMNY (New York City’s wireless transit pay) months ago but was unsuccessful. Now time to try again. I downloaded the Apple Pay app- and then had to call the bank to connect my card. Now that it’s tied to my phone, I tired again to sign up for OMNY. Success! The 4:35 PM Babylon train arrives and I had 55 minutes to map out the quickest path in getting to my destination. The train arrives at Penn Station and I waste no time hauling ass to the ‘E’ line. Here we go. I hover my phone over the turnstile and - GO. Raced up and down the flights of stairs and I catch the ‘E’ train by five seconds before its doors closed. I take another 20 minutes to cool down before the transfer to Court Square / 23rd Street’s ‘G’ line. I hop off, sprint, and find the ‘G’ train that would take me to the Nassau Avenue stop, the closest one to Warsaw. It took me about two minutes and 1,000 feet to get there. I finally arrive out of breath before I go through the security checks and magic wands before entry. All clear. It’s 7:40 PM. Five minutes to go and I’m at the exact same spot I was the night before. All worship to Lucifer that I made it.

And now, night two begins.

If there was any artist to kick off Friday’s festivities that represented his hometown and carried its flag, then Confines was it. The hard-hitting, beat-heavy industrial-techno / EBM project certainly had some punch to it. Like Rein, Confines was a one-person show who did all of his instruments and movements on his own. Not bad at all. At the time of this writing I learned something about him that totally kicked me off of my seat: Confines happened to be David Castillo, co-owner of Brooklyn’s Saint Vitus bar and venue, host of the Age Of Quarantine podcast, and lead singer of Primitive Weapons. Are you fucking kidding me?! I was on the lookout to spot him at my last visit to -Vitus to see Uniform but I was shit out of luck. Now I finally found him performing at Cold Waves and didn’t even know that was him until after the fact! Fucking right. And it doesn’t stop there. I also learned that both Geography Of Nowhere 1 and Work Up The Blood was mixed and mastered by Hospital Productions’ Kris Lapke / Alberich and laid out by Sannhet’s AJ Annunziata. Wow. Talk about getting five-in-a-row on that bingo card.

Fans of Vancouver musicks enjoyed a two-for-one approaching the middle of the night’s bill. We were all treated to Leathers consisting of Shannon Hemmett (vocals), Kendall Wooding (synths), and Adam Fink (drums). For anyone who wanted the 2022’s tense of what an Eighties’ synthpop / new-wave show would look like? Well, now you have it. It was a treat seeing them perform and also seeing the slender Hemmett as an Eighties dream while Wooding and Fink played a smooth mid-tempo set. But with a wardrobe change and Jason Corbett coming into play, Leathers became Actors and Artoffact’s flagship band was the iteration that appeared on everyone’s radar as of late. They traded in their Eighties’ synthpop and new-wave cool for heavier rock. This time Hemmett took over synth duties and Wooding wielded bass as Fink stayed on drums and Corbett helped Actors push more power and electricity into their second set to keep the excitement steady from start to finish. I tried out both Leathers / Actors before and for some reason they’re not my type of heavy-rotation listening. However, there’s no denying that their talent brought them their well-deserved fanfare and exposure.

Not since Merzbow’s personnel bringing out his gear at Output have I been bracing myself with another artist’s set-up. Lighting fixtures attached all over and bulbs placed in front of huge cymbals might’ve told me that the next set would burn my eyes right off my face. Luckily, I was wrong. That was Kite’s visual set-up and a precursor to their performance. The Swedish duo of Niklas Stenemo and Christian Berg were another act I never heard anything of, and afterwards tilted me to give them a shot. Both were skilled in playing two keyboards at once (or keys- and knobs in Berg’s case) as they delivered a lively performance and Stenemo a few kicks, switching between synth-wave and synthpop. Their latest single “Bocelli” was the highlight on the night, showing their dramatics while also providing a soulful, heartfelt, and at times acclaimed power.

While Kite tore down their equipment, I thought of something. It’s been five years since I attended Hospital Production’s 20th Anniversary. I remember one moment near the end of the showcase when Bone Awl was playing their set - where all of a sudden Dominick Fernow (Prurient and Hospital- label-head) runs to the apron, stage-dives over the pit, and into the audience for a crowd-surf. It was a moment that never escaped me since then. Here I am back again at Warsaw for Cold Waves five years later and I’m at the rail for both nights. During one intermission, something dawned on me - I look at the rail, then the edge of the stage, and then the rail once again. I thought to myself: how in the fuck did Dominick have enough clearance to fly in the air, avoid banging into the rail, and land safely on top of the crowd? Good thing he successfully pulled off that spectacular feat.

Asterisk: New York City was supposed to receive Stabbing Westward as the closer to Cold Waves but had to bow out. That’s where Cold Cave gladly stepped in and ultimately sealed the deal for Cold Waves’ entire New York City stop. “Remember when we last played here?” lead singer Wes Eisold asked the audience. Yes I do, Wes. Yes I do. Seeing Cold Cave again for the second time in the same venue was another special bonus to me, and always a welcome one at that. I walk through previously-ventured territory and this time it was just as exciting as the last. All hits and zero misses from Eisold, his lady Amy Lee, and company. “Glory”, “People Are Poison”, “A Little Death To Laugh”, “Confetti”, “Rainbow Girls”, “Godstar”, “Theme From Tomorrowland”. You named it, they played it. For 50 minutes they kept a steady upbeat energy of synthwave and classic goth pedigree; not to mentions tons of smoke and fog fired towards our way to where I’m seriously considering getting myself screened. The only difference between their 2018 appearance and this one at Cold Waves? No sign of Max G. Morton, and Eisold’s heroine Genesis P. Orridge who joined him on guest vocals had sadly passed away since then.

But there was one shining onyx that fit the head jewel of the crown: when Eisold and Amy Lee brought their daughter out on stage. How fucking amazing was that? The audience collectively melted. Imagine being in your single-digits and having an amazing story to tell your friends back in school about how your rock-star dad brought you up on stage to sing for the crowd. Through their entire set, Cold Cave never let up and missed any of their targets as Eisold, Amy, and the rest played through their last encore and that’s all they wrote.

Before I knew it, it’s 12:20AM. Cold Waves in New York City was now history.

**********

I walk out of Warsaw and away from the busy volume of the patrons standing around in front of it. The night skies changed their tune to a purplish overhead. They were nice enough to wait until my moment was over to return. I’m now processing how to put the last 48 hours into words and also my place in the universe after being where I wanted to be. I head west on Driggs Street through McCarren Park weaving through the pedestrians walking towards me and observe a few small groups of people congregating and chilling on park grounds with their portable speakers. It’s only a few more blocks before I enter the ‘L’ line that will connect me to the ‘2’ line.

If only I can tell you the city’s delights that I’ve seen during my travels to Penn Station. I’ve seen female torture artists and double-pigtailed mistresses in their black onesies and shiny knee-high boots. There’s an Asian girl my height in a low-cut purple dress and her thigh is all bloodied and bandaged up; situated below her very visible purple underwear. Across from me was this gay guy who was the stunt double for The Ukiah Drag’s Tommy Conte, kissing his boyfriend on the cheek and sad-gazing in his boyfriend’s eyes who boarded off the ‘L’, but not before he blew Tommy a kiss goodbye. Another couple hopped on our crowded car. His blonde girlfriend’s neck and chest were literally covered red with hickeys and didn’t give a soaring aerial fuck about all the eyes and stares aimed at her. The ‘L’ ends and I transfer to the quick ‘2’ which only took five minutes to get me to Penn Station, leaving me with a half-an-hour wait for the Babylon train to arrive. Lather, rinse, and repeat with a left-hand forward ride to the station and another Sunrise Highway night drive back to my quiet-as-night neighborhood. A return to silent normalcy.

**********

Chicago has been widely known as the industrial capital of the U.S. It’s where Jim Nash and Danny Flescher established Wax Trax as a record store and the label that’s given birth to the careers and legacies of Ministry, KMFDM, My Life With The Thrill Kill Kult, Meat Beat Manifesto, and countless other acts. It’s also where Public Image Ltd.’s Martin Atkins created Pigface and Invisible Records and gave life to Chemlab, Damage Manual, Dead Voices On Air, Murder Inc., Ritalin, Sheep On Drugs, and Test Dept. All these artists made my identity, or part of it. Throughout the years I’ve followed all of my favorite artists and have never given up on them. They were there for me during my difficult times at community college and to this day I’ve never tired of their projects. It wasn’t until recently when I revisited the classics that I realized that these artists and labels were in my heart all along. Millions of industrialists join each other in various online groups to share their stories and live memories and say “hi!” to the many legends who lurk around and keep that cameraderie going. I see the company around me in Greenpoint who share similar interests, qualities, and aesthetics and those are the people I want to be associated with.

I thought attending just one Boy Harsher show was a rite of passage. Yes - more in the synthwave world. I’ve also attended shows for Nine Inch Nails, Ministry, and Killing Joke and that’s more than enough for me to hoist my flag for this genre. (Naysayers will wave their filthy unclean fingers at me and say “not so fast” because I wasn’t able to go to a Skinny Puppy show.) I’ve heard many great things about Cold Waves that I’d be a fool to miss out. Mutuals who went told me it’d be amazing and they were double-right. With Front 242’s final American appearances and with Braker and Connelly having to quit the RevCo name, this year was a non-negotiable. What started out as a one-night benefit and an honor of Jason Novak (Acumen Nation, DJ? Acucrack) and David Schock’s fallen friend Jamie Duffy evolved into an (almost) annual round of the best and legendary industrial, synthpop, and synthwave acts. Like my attendance with the previous Cold Cave and Black Marble shows, attending Cold Waves was a thank-you to the scene that gave me an identity but also to a certain number of acts that helped build it.

It’s been one of the best and most exhilarating moments of the year, ranking as high as Sacred Bones’ 15th anniversary. If the line-up for next year is as good or better (how could it?), then I guarantee you I’ll be returning.

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