Halloween may still be around the corner, but the crowd’s appearance almost convinced me otherwise, as it waited to see cyber-electronic punk bands Blood on the Dance Floor and Angelspit. The line of people out front of Chain Reaction in Anaheim adorned a unique assortment of clothes. Both male and female fans wore furry legwarmers, liberal amounts of makeup, and androgynous accessories. The most interesting spectacle included the normal looking parents who accompanied their children. The contrast of a “common” and reserved ensemble clashed with the young and unique style, which changed the standard for what was constituted appropriate for this show.
The doors opened promptly at 7:24 pm. Fans poured in from the entrance, running and screaming to get to the front of the cramped stage while the parents chaperoned from the less dense sitting area. Minutes later, the ushers at the door posted the “sold out” sign at the ticket office. Show openers Mystic Monsters began their set list several minutes later. The duo’s similar electronic punk style to Blood on the Dance Floor hyped the crowd, but only to an extent. The processed beats that blared over the speakers and lack of instruments left the audience supportive, but they shared little enthusiasm for more material.
The second band, New Years Day, received a better reception. Not only did their neo-gothic attire stand out, but their performance generated more of an energetic reaction from attendants, mixing the style of The Veronicas and the attitude of No Knife.
The members of Angelspit rushed onstage following New Years Day to set up their unique assortment of equipment. Big fluorescent light X’s and skeletons decorated the corners of the stage. The most interesting piece of their gear included lead singer ZooG’s homemade synthesizer, modulated by an analog arcade stick complete with coin slot. The frontman’s unique outfit, a black leather skirt, black PVC tank top, smeared black make up, and black leather liberty spikes, drew attention away from the stage and towards him.
Their setup took longer than the allotted time to perfect the electronics and equalization, but the articulation made the wait worth it. When ZooG and band members Destroyx, Valerie Gentile, Matt James, and lights operator, The Liar, walked on stage, the crowd went wild. Dozens of neon haired teenagers jumped and sang along to the band’s electronic vocals and industrial musical style. Halfway into their first song, “Kill Kitty,” a mosh pit broke out despite the venue’s insistence against it. Valerie Gentile could not be seen on the stage when their third song “Defibrillator” started. The red dressed beauty was later discovered rocking out near the sitting area, entertaining the parents and surrounding observers around her with various rock stances. By the end of their nine-song set list, fans cheered for an encore, the first demand all night. Time constraints and the prolonged sound check prevented such fan service, much to the disappointment of the crowd.
I managed to interview ZooG during Blood on the Dance Floor’s set list. The Australian born Karl Learmont’s observations of the working class society proved intriguing. In fact, Angelspit’s new album Hello My Name Is draws inspiration from his observations.
“I was sitting in a cafe, watching people walk to work and they had the deadest, robotic look on their faces trudging off to a job. They walk off to the same Starbucks and pick up the same coffee going down to the train station at the same time, most likely bumping into the same people and not making eye contact… I am blessed to not be a part of that because I’m doing the band full time.”
Angelspit is currently touring for their newly released studio album Hello My Name Is, released October 11, 2011 on CD and digital download. As of yet, their tour itinerary will continue with Blood on the Dance Floor up until November, ending in Tucson, Arizona.
