There are not many bands I could justify travelling half way
across the country to see, especially on a work night and especially not to Milton Keynes. The town is how I imagine purgatory to
resemble. Essentially, an expansive shopping and eating destination and not a
whole lot else. A place where people go to consume. Regardless, this was the
closest date of Dog Fashion Disco’s (Really) Ugly Americans Tour and not even the prospect of having to once again visit Milton
Keynes was going to stop me.
Besides perhaps Huddersfield
we had chosen the least prolific date of the tour. The Craufurd Arms is more
suited for tribute nights and wedding receptions than accommodating one of the
most unique bands of the last fifteen years. We knew this was going to be an
intimate gig and given its seemingly unremarkable location I can only assume
the band had no idea where they were either.
Joining Dog Fashion Disco on the tour were openers Psychostick.
Whilst involuntarily getting to know the locals it became apparent that the
majority of the audience were here for them. Perhaps years spent attempting to
navigate MK’s near labyrinthine layout has left people unable to comprehend
anything divergent.
Psychostick are a novelty act. Much in the same manner that
Steel Panther pretend to be eighties rockstars and attempt to get underage
girls to expose themselves or Five Finger Death Punch pretending to be actual
accomplished musicians, Psychostick are a parody of the common associations of
rock and metal. Whilst they managed some genuinely entertaining moments such as
the ‘slowest mosh pit ever’ it is difficult to see past purely the novelty. Music
combined with comedy is like my computer… it doesn’t work very well. Other songs just seem childish. It is music for the Youtube generation, whereby music videos
go viral, not because of their accomplished songwriting, but for their ability
to distract you from reality for a few minutes and then ultimately forgotten
about.
Since being made aware of DFD’s existence nearly twelve
years ago, they have not only consistently remained a fixture of my music
collection but a catalyst for its general eclecticism. Anarchists of Good Taste
is one of those rare albums that I consider timeless, had it not been for its
almost accidental discovery all those years ago, I may well have spent the
remainder of the decade relying on the ‘genre of the month’ artists force fed
by the musical press. Never before had I listened to anything resembling their
blend of jazz, psychedelica and the avante-garde. Todd Smith’s darkly captivating
lyrics explored themes that admittedly as a naïve teenager I had trouble fully
comprehending. For the first time I began actively exploring the words to the
music, uncovering creative stories regarding serial killers, cults and
occultism.
The unfinished chapter in this story regards my uncertainty of ever being able to witness the live DFD experience. The band has something of a cult status in their homeland America; I presumed chances were slim of them ever considering an international fanbase. Following their enormously successful crowdfunding campaign in 2014, the band announced successive shows in London, having to adjoin additional dates to appease demand. I was as shocked as I can only presume the band was.
Exploding with Rapist Eyes the band instantly reassure
anyone remaining from the Psychostick crowd that, this is not going to be
another novelty act, despite the assumptions their name might entail. A few
points worth mentioning tonight, is that the horn section lead by Matt
Rippentoe, so integral to their sound is noticeably absent on this tour.
However, I understand the logistics of bringing an additional member was more
than likely not practical for such a small tour. Regular drummer John Ensminger
is also absent, as is frequent stand-in Mike Oliver. Drum duties were therefore
preformed by a mystery individual. Competent enough but Ensminger’s Jazz
influenced accompaniment forms the background to DFD’s sound.
Following heavier numbers, The Sacrifice of Miss Rose Covington sounds as invigorating as it did back in 2006 and Pale Horse showcase
the bands more metallic influences with guitarist Jasan Stepp taking his
performance into the crowd in effort to encourage movement. Following new track,
Ad Nauseam insinuates the band can demonstrate a more accessible side if they
so desire, an electro tinged upbeat track that would have sounded even better
with the addition of the accompanying saxophone the studio version is blessed
with.
One of the key components in DFD’s music is that, as amiable
as the music represents itself, Todd Smith’s lyrics have nearly always been
misleadingly morbid as the more melodic Nude in the Wilderness demonstrates.
Tastes so Sweet with its almost cabaret style piano, could have been a huge
crossover hit for the band, if this cultures seemingly preoccupation with bland
musical conformity was not the main hindrance.
100 Suicides is another track that benefits hugely in a live
environment to its horn accompaniment, yet the band still improvise enough to
ensure a fully successful rendition. More recent material from last years
criminally overlooked Sweet Nothings include satirically influenced We Aren’t the World and politically charged War Party, before the band revert back to fan
favourites such as Pogo the Clown and The Acid Memoirs.
New track, Only the Haunted from their upcoming
album Ad Nauseam reassures that the album is going to be a highlight of the
year. The band finish on two tracks from Adultery, Sweet Insanity and Darkest Days. Between myself and the other ten or so long term fans present, there is a
certain sense of disappointment that anything from Anarchists of Good Taste was
surprisingly overlooked. Not only does that album serve as the quintessential
release from the band, it perfectly showcases both their diversity and talent. To
have been able to hear Valley Girl Ventriloquist or 9 to 5 at the Morgue would
have made the evening not only memorable, but perfect. Second that, seeing them
anywhere but Milton Keynes would have made it
perfect.
So, whilst the set list could have benefitted from a few
alterations, they band still proved they are the sole proprietors of the
avante-garde metal scene (as niche as that maybe) For me it was something I had
been waiting a long time for, my sentiment gleefully overlooking any minor dissuasions
anyone else may have had. The band however, deserves better, better venues,
better crowds and better recognition for their efforts.The thought of a
supporting band like Psychostick receiving a warmer reaction than Dog Fashion
Disco is as incomprehensible as Weird Al Yankovic stealing the show from Johnny
Cash.
NG
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