Brother Bear

In the first set, Brother Bear enticed the early crowd to the dance floor with some percussive vocals, gnashing snares, and pudding-jiggling bass layered under femme-soprano vocals. His instrumental sound was like late night Cartoon Network; bass that was naughty, but still immature like your adult footy pajamas.

Dabin

Up next was Dabin, a very unique and powerful performer that brought in a live guitar on and off throughout his set. He navigated each section as a reptile through still water: rippling bass and shredding dank rifts in the wakes. High flute trills gave his style a retro element that reminded me of old school 80’s power-ballads, especially when the lights flared hot pink and lime green.

After Dabin, quickly the stage went dark, and BTSM’s sermon began with a lot of cursing, taunting and fever-pitch intensity all in complete darkness. The crowd went wild at the jeering from BTSM themselves. Then the echoing chorus of their demonic choir summoned them, tiger helmets and all, to bring down the entire block.

BTSM

The ferocity at which these producers perform is more in line with the punk-rock, and alternative rock scenes. They are jumping and banging, leading by example, working the crowd without voicing instructions, just excellent mixing.

BTSM

The music was non-stop, and the bass was heavy, dirty-dank, and dripping. Its not loud but gigantic, billowing over the faithful. Its hard to imagine that this concert can be described this way even though it was held in near darkness. The lack of spotlighting on the artists’s humanity allowed for a suspension of belief, and the congregation was able to see them as embodiments of the music.

BTSM

BTSM did not disappoint the music-ADD freak that I am and provided an altar of classic and contemporary electronic covers. These included Daft Punks ‘Technologic’, Benny Benassi’s ‘Satisfaction’, Flux Pavilion’s ‘Bass Cannon’, Breach’s ‘JACK’, as well as a remix of the classic ‘Funeral March’. The ceaselessness of the set was not completely uncivilized, but militant and even experimental with some tracks including samples of broken glass, and flavors of reggae. Black Tiger Sex Machine proved to be the salvation for dark electronic music with their dedication to their aesthetic and density of talent in their live performance.

BTSM

Another stellar, glitch-less show at the Town Ballroom in Buffalo, NY. For more information on this venue check out their website here.

Photos are thanks to Jennifer Dref. Check her instagram here.

If you need saving, go back to church, and check out BTSM’s latest releases below.

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Their supreme and aphotic style has garnered them a reputation amongst dark electronic fans and dubstep diehards. Their label, Kannebalin, has been praised as the savior of dark electro and bass music against the threat of commercialization. The prophetic producers hail from Montreal, where they have been harboring their energy for a tour that has been putting audiences on notice.

From deciphering the scrolls I can tell you that their light show is a sophisticated altar to their Cat-Cerberus set. I’ll confess, I’d do all sorts of penance to get a peek at their thought process behind their latest album, Welcome to Our Church, but mystically they declined an interview (possibly due to a vow of silence).

Check out Town Ballroom’s website for tickets and more information. To study the texts and see what you might be in for check out Black Tiger Sex Machine’s Facebook.

Check out their latest free download here. Below is an unholy remix EP.

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