The performance started as many other Lash Frenzy sets have done with pure noise, strobe lights and smoke. No aural surprises, the extra element tonight was visual. Behind the smog four figures appeared in orange robes. The sparse use of strobe lights made it difficult to tell if all four figures were masked as they were led to their places.
One by one the figures were disrobed and each semi naked female figure was adorned with a Gibson SG before the next performer/musician/model (an area for clarification) was given the same means of musical expression. As the strobe lights teased there was no discernable change in the maelstrom of sound. The guitars appeared to be randomly strummed but there was no way to tell if they were plugged in or being played anyway.
This is sound art and it needs interpretation – whilst it is an experience; a shattering, draining, other worldly mind-scrambling onslaught, it needs to speak. The dislocation of the Lash Frenzy sound scape is one that gives space for contemplation. A space that might benefit from, if not an intellectual prompt from the artist, at least a full description of the elements that are involved in the creation. And no, I don’t mean the girl’s phone numbers – I wanted to know exactly what the piece consisted of. At one point I wasn’t sure if the performers were all female or not. Maybe, in the frequent periods of infrequent strobe flashes, the performers had switched. A rock audience needs tools to orientate itself to something so bold with so many layers – whether they are on – or off!