Botch, Great Falls [09.03.2024: Arena, Wien]

2024-03-11 11:45:37

from Oliver
on March 11, 2024
in Featured, Reviews

Legendary evening in the Vienna Arena: The all-star institution that always undeservedly flies under the radar of general attention Great Falls is the support act for the return of Botch.

Given this constellation – and more correctly: simply because of the incredible joy that the iconic quartet from Tacoma is following the lonely single One Twenty Two (which, by the way, now fits perfectly into the classic setlist as a relatively straight catchy tune) twenty years following the band actually ended in 2002, to actually be able to experience it live once more in the local area! – it’s actually unbelievable that they Arena It’s not bursting at the seams, it’s just very well filled, but not fully occupied. Whether Vienna in particular is not really interested in the farewell tour Botch is, or, what seems more likely given the reports of the remaining tour stops so far, interest is increasing Botch in Europe in general moves within a manageable framework remains an open question.
After Dave Verellen, now sporting a bald head and a stylish mustache, apologized for the fact that it took a little longer for his band to get back to the country, it is now being determined how high the quota of those who came from abroad especially for the show is There is a visitor in the room – and it feels like all hands are in the somewhat airier filled location upstairs. (At least a group of Italians with a constant roar as if they were addicted to coke, even the quiet parts of Own in an unpleasant way of self-portrayal, the leading wolf is doing everything he can to ensure that this is noticed.)

On the set of Great Falls This fact is of course even more obvious: the hall is comparatively sparsely filled when the veterans take the stage – but if necessary, you can also hear the trio from Seattle well in the compact entrance queue in front of the arena. Taking so loud and powerful Great Falls in the wringer, play their amalgam of noise rock, mathcore and post hardcore with a self-lacerating intensity in the aggressive sound juggernaut, which is so densely knitted, ripping fast and exhaustingly tough. The towering, chicken-like Shane Mehling plays his curved bass as if he had to teach the instrument pure brutality with an attacking hardness, literally castigating it, while his two colleagues Demian Johnston and Nickolis Parks add peaks with roaring venom.

Especially the Objects Without Pain– Bracket off Dragged Home Alive and Thrown Against the Waves turns out to be so furious because it’s even dirtier and nastier than on the record, but that’s also true Funny What Survives The material in between (which the band cannot identify by name despite the setlist) is absolutely convincing.
Great Falls Afterwards, they act all the friendlier at the merch stand and promise to come back. It would be better: this band, which is so often sold short, with their from Kiss it Goodbye bis Playing Enemy extensive reputation, is actually far, far too good to be “only“to boast too short a playing time of just under 30 minutes in the opening act – they simply have absolute main attraction class, you know that.

Almost certainly won’t be coming back Botch, who are also doing a farewell round with this comeback tour. And make a real impression. Much more: collecting, reflecting and reproducing the impressions of the quartet’s Vienna guest performance in a somewhat sober manner and without constant superlatives proves to be almost impossible, without any nostalgic delusion.
Because where they are – nobody’s business Poser What makes the framework conditions (from the sound to the powerful light show) convincing is the performance Botch deliver, simply brilliant and simply euphoric. Not stale preservation of monuments, but hungry and urgent, motivated and getting to the point perfectly (if you ignore the fact that the break between the regular setlist and the encore relieves a little bit of the pressure from the show – but it’s also a fabulous delivery when you take a deep breath for the atmospheric Afghamistam in which bassist Brian Cook takes over the melancholic vocals, while charismatic Verellen bathes in the crowd or watches the scenario while drinking water while sitting at the drum stand (and for once he doesn’t have to retie his shoes, which are constantly untied).

The mood on and in front of the stage is good from the first moment, but it increases as the (almost completely satisfying) set continues, as many visitors gradually shed their inhibitions; there is even a bit of ecstasy in the air.
There is practically no crowd surfing (although Verellen explicitly asks them to look following each other a little more, and so they jump into the crowd with concern), the pit is positively exuberant (aside from the Italian haste) and most of the songs (especially of course) are shouted along frenetically , sometimes even with a microphone passed through the crowd. John Woo, Thank God for Worker Bees, Japan,… the highlights line up without ceasing – and as chaotic whirlwinds they sound just as fresh and powerful today as they did back then, and will probably forever represent the ultimate.

That groove monster Cook breaks a cable towards the end and has to leave the stage to get a new one, while Dave Knudson is working on sound effects and Tim Latino is copying them Transitions From Persona to Object Fills the resulting unplanned waiting time with a stoic drum beat before moving on under the eyes of Chauncey not just when it explodes Saint Matthew Returns to the Womb demonstrates how closely the musicians are attuned to one another in their blind understanding, there are only a few explicit moments that burn themselves into the memory.

The band’s joy and gratitude for the joy and gratitude of the fans comes across as honest and authentic, and makes the evening (which was not yet over long following the show ended at 10 p.m. due to the long queue at the merch stand) increasingly a matter of the heart, which not only meets all hopes and expectations for this unique return, but exceeds them. The discussion that sometimes takes place regarding whether Botch are the most important group in the history of the genre can only seem to have one answer on this evening.

Setlist:
To Our Friends in the Great White North
Mondrian Was a Liar
John Woo
Spam
Japan
Framce
Own
Thank God for Worker Bees
One Twenty Two
Vietmam
Transitions From Persona to Object
Hutton’s Great Heat Engine

Encore:
Afghamistam
C. Thomas Howell as the „Soul Man“
Saint Matthew Returns to the Womb