Black Tiger Sex Machine (BTSM) is not only a fan favorite, but a respected production trio that is credited to “saving bass music”. Here in the Bass Capitol of Denver, Colorado they put on a stellar show opened up by Sloane, Kai Wachi, and Dabin. This all went down at Cervantes, a favorite venue to catch a wide variety of shows, on Thursday March 2nd.
After the doors opened Sloane set the scene with smooth trip-hop, and early R&B sounds. He smashed it together with sudden jolts into deep-bass, jamtronic tracks. There were some weird spoken word samples but overall this artist’s style was traditional to electronic musics’ 90’s beginnings. It felt very Euro but sexy at the same time with all his female vocals.
Up next was Kai Wachi who entered with presence unfurling bass left and right. His fans clearly were present in the crowd, clamoring at the steep drops, and relishing the new mixes that he shared with them. His rowdy-raucous hype was thrilling and marinated the audience for the next layer.
Dabin stepped up to the plate and delivered yet another crystalline performance. Dabin demonstrated his craft by making his electric guitar sing over “I’m Sorry Miss Jackson” and mixing video-game sound effects with lots of trills and bursts of energy. This chaotic set was topped off with a remix of Queen’s ‘We Will Rock You.’ (Dude, please make me a playlist; I think we are music-ADD twins).
As the clock struck midnight, and the truest darkness fell over the city, Black Tiger Sex Machine transformed the decks into an altar of bass. Hearing taunts rile the crowd reminded me of why this trio is so phenomenal: their stylized presence and unadulterated love of all the deepest, darkest parts of electronic music are a life-blood in this clustered scene. The taunts are encouragement actually, and the waiting becomes immediate gratification, savory satisfaction. Black Tiger Sex Machine delivers a performance that is not just music, but an episode of raw, juicy intensity.
Music on the radio too often is about romantic relationships, and a lot of electronic music is about having a good time and getting down to, and it sure is easy to be angry to heavy metal. What is missing, and what BTSM provides, is a type of musical style that incorporates intensity in a less emotional form and brings it to this elevated level of sheer ferocity. At this height the aggression is less rage and more unclouded declarations of ardor.
A lot of the aesthetics that this group utilizes to signify their followers or incorporate into their label art is primal, post apocalyptic, decrepit industrialism which are all thoughts of marginalized progressive thinkers. It’s not overly complicated: the bass, the rhythm, is their religion. 
The motto “Music is our religion”, and that every show is a mass at their Church may sound gimmicky, and it could be, but their style of delivering a musical experience is so unique it seems sacred. It also satisfies this deep need to enjoy some fire and brimstone. Their new stage is synced in with their set up and their helmets which are trademarked. The light show is just as aggressive as the beats, and never fail to be intricate and poetic.
They opened with a refreshed ‘DEMONS’ originally created by Kai Wachi. Right away they spread out their new single ‘Hell Motel.’ Without warning, they whipped up an extra creepy version of Mr. Oizo’s ‘End of the World.’ After they gave the Funeral March a make over, the tigers reanimated ‘Bass Cannon’ by Flux Pavilion, and ‘Breathe’ by Prodigy.
During their finale, after removing their helmets, Julien Maranda shouted ‘OPEN THE PIT’ furiously and continuously until the command was obeyed. Then he let all the true believers mosh to a tantalizing clip of a new single never before heard. Hopefully we do not have to wait too long to find out if this means a new album is on the horizon.
Don’t live with your demons. Find a BTSM show and let them loose. Who knows, they might come home with some cool merch.
Photo credit to Jennifer Dref
