| Author |  |
|---|---|
| Category | Columnists, Culture, Town |
| Date | April 24 2024 |
| Reading Time | 2 min. |
In the pursuit of London’s most electrifying event on the evening of April 18th, few might wager that fabric’s notorious, dim-lit basement would top the list. Yet, it was this very locale where the Israeli band Red Axes, the fresh signees of the club’s in-house label Originals, held their exclusive London performance.
Dori Sadovnik and Niz Arzi, whose musical bond dates back to their school days, continue to revel in their partnership with youthful vigor. This vitality throbs through their recent album,One More City, released last year—a manifesto of their matured sound, emerging from a rebellion against the ordinary, a challenge toconventions, and an aspiration to transcend predestination.
Fusing diverse musical genres is hardly anextraordinary feat, yet Red Axes’ distinctive panache for blending post-punk with dance beats has given rise to an album rich in melodic variety, brimming with dynamic contrasts, and charged with a desire to transform any instant into a freak show. The robust, cohesive sound of One More City owes much to a variety of production techniques, the spontaneous nature of creativity, and jam sessions with fellow musicians. The recording process welcomed artists from varied backgrounds, including female rapper Janset, Cole Alexander of the American garage rock band Black Lips, and Clams Baker, the frontman of the London’s post-punk band Warmduscher.
From the outset at fabric, the ambiance veered into the bizzarre as a guitarist, donning oversized pink sunglasses, fit for a child or a woman, joined the Red Axes duo on stage, complemented by guest vocalist A.Lonzo’s presence in a zebra-striped suit and cowboy hat. The sound system roared to life, reaching max—ear-distorting, supersonic levels. Amidst livelyguitar riffs and a blend of live drums with analog beats, Dori’s custom bass synthesizer filled the venue with its deep, resonant tones. The lyrics, sharp and incisive, rode the waves of swiftly shifting tempos.
As the concert progressed, only Sadovnik and Arzi remained, delving into a pastime they likely relish—spinning acid techno melodies on their analog equipment; this performance, however, structurally and tonally lacked the vibrancy of the preceding acts. The departure of live instrumentation and guest performers led to an unexpected dip in zest, save for the relentless intensity of the sound. In hindsight, reversing the order of the concert’s first two acts might have sustained the momentum, particularly as the guest musicians made a comeback for the final thirty minutes. (Their initial abrupt exit left one pondering the unpredictable nature of punk rock performances).
The climax of the evening was Red Axes’ boldest track Hey, reserved for the grand finale. Following the second chorus, with its memorablelines ‘I had sand in my mouth and my brain was mashed potatoes, I wanted to flirt with you but all that I could say was… hey,’ A.Lonzo plungedinto the sea of fans, a microphone in one hand, a bottle of spirited liquid in the other, all while his cowboy hat miraculously defied gravity. The crowd carried him in a triumphant lap before returning him to the stage.
Red Axes carried their rhythm to another Britishcity, leaving behind a resonant fullness, a dense echo of Middle Eastern vibrancy that continued to reverberate in the ears of those who had witnessed the electrifying event at fabric.
