I’d been wondering what the most batshit scene line-up could possibly look like, and on the 8th of November I finally got my answer. The Windmill graced us with a bill not to be forgotten, marking a monumental release show for the Stoke-based garage wrecking-crew Christian Music.
Opening the night were Windmill Garage Bash regulars Omertà. Seeing them again — this time with all their core members present — fully sold me on the act, especially since the last time I caught them a few people couldn’t make it. This time they charged in from the off, immediately creating a massive, frantic wall of sound. Everything about the band is unhinged, yet nothing ever feels repetitive or predictable. Frontman James performed fully in drag, still managing his typical crowd-surfing and ballsy stage antics. The whole band sounded tight and absolutely intense; not a second passed that wasn’t worth savouring amid the chaos. As in most Omertà gigs, things ended with James tackling keyboardist Jett to the ground, the two of them wrestling while third guitarist Sonny piled on for good measure — a fitting end for an insane group worth seeing again and again.
After Omertà came a personal favourite of mine, I’m Sorry Emil. The screamo trio are a band I’ve listened to endlessly but never managed to catch live, and I’m glad that’s finally changed. The energy they conjure in the studio translates perfectly onstage, everything locking together to deliver the catharsis they capture so well in their recordings. They weave a mixture of sounds: the typical full-throttle screamo onslaught led by guitarist Filip’s intense screams, every inch of sonic space filled, contrasted with more intimate, lighter sections that allow room for emotional introspection. These elements, which I love in their recorded work, elevate the live performance into something genuinely beautiful.
Following Emil’s emotive outburst were Paper Hats, a band I’ve now seen numerous times. Easily one of the greatest live acts in London right now, they never fail to bring a chaotic barrage of noise to any venue they touch. They launched straight into their storm the moment drummer Conn got behind the kit; with “EVA,” which kept building and building until its climactic finish, they constructed an impenetrable wall of sound that many bands attempt but few ever achieve. They tore through their set with no sign of stopping, each song as fast and unrelenting as the last. They didn’t play their one single, “D’Artagnan,” which actually felt refreshing – it gave the rest of their arsenal room to shine, each track as potent as the next. They closed with my personal favourite, “Grin Rho,” a frantic, unhinged mess of a song that sums them up perfectly.
Finally came the main act, Christian Music. Hailing from Stoke, they arrived to celebrate the release of their new single, Email!. They opened with an explosive surge of noise that ripped through the crowd as frontman Josh scaled the Windmill’s speakers, unleashing completely wild, unintelligible screams. From there the band went full-force into their noisy garage-punk assault. Everything was remarkably tight and on point, even amid the erratic instrumentation. The chaos recalled garage-rock icons Thee Oh Sees, with that same off-the-wall, anything-could-happen energy. The set was a non-stop freight train of garage-punk expertise, each track cranking the intensity higher – at one point even throwing a trumpet into the mix, adding to Christian Music’s utterly brazen approach. Eventually the fuse that had been burning all night finally fizzled out, bringing this display of furiously intense musical calamity to its end.
Words: Noelle Radewicz Photos: @fayefotoz