Billy Howerdel and VOWWS @ Fine Line | 6-23-22
Written by Peder Schuller & Scott Cornell | Photos by Scott Cornell
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On a steamy Friday night in downtown Minneapolis, Los Angeles-based Australians VOWWS, an industrial goth rock duo, opened a two-band bill at the Fine Line, an intimate music cafe.
Silhouetted by a mix of abstract visuals and interlaced with cinematic scenes, the duo entered the small dimly lit stage. Long black coats obscured the duo's outlines providing further anonymity as red and purple stage lights swept the venue, illuminating the volumetric fog that filled the space.
VOWWS filled the room with a haunting blend of industrial and goth rock, branded “death-pop”. Depeche Mode’s synth-pop style, with the industrial elements of Nine Inch Nails, fronted by Bjork and Peter Steele of Type O Negative comes to mind while absorbing the seven-song set.
The heavy bass lines drew in the concertgoers with ebbing strength. Atmospheric backtracks expanded into the areas where singer-guitarist Matt James and singer-keyboardist Rizz’s instrumentation didn’t. Driving the set, the tempo slowly increased with each song, building to a solemn yet impressive climax. James' fretboard and footwork exemplified his proficiency as a guitarist. Rizz’s versatile use of microphones added diverse elements to the sound.
100% independent, in collaboration with Deftones frontman Chino Moreno. VOWWS has experimental stylings that align with acts like Mr. Bungle, Gary Numan, the aforementioned Nine Inch Nails, Depeche Mode, Type O Negative and Bjork. Fans of genres like new wave, synth-pop, industrial and goth rock will surely enjoy and embrace VOWWS.
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Multi-instrumentalist and songwriter Billy Howerdel and a quartet of supporting musicians launched into the first song of a set comprised mostly of ten original songs off Howerdel’s latest studio album release, What Normal Was. Howerdel’s latest foray into solo projects since Telling Myself It's Alright was released in 2008, under the pseudonym Ashes Divide.
Howerdel’s signature guitar style and sound are unmistakable. An experimental blend of electric, industrial and symphonic instrumentation layered under intimately pensive, and philosophic harmonized lyrics filled the set and captivated the audience. Melodically deep and seemingly personal, the setlist was moodier and more emotional than other projects but somehow remained in the same lane.
Flanking Howerdel on the right, guitarist and serial remixer Danny Lohner, commonly known as Renholdër, bantered with the front man and the crowd proving he thoroughly embraces being on stage. To Howerdel’s left, keyboardist Nylo provided the ambiance and melodies of the night with professional prowess. The rhythm section was set into the depth and darkness of the backstage. Consisting of percussion phenom Greyson Nekrutman and bassist Elliot Lorango who has also recently accompanied Dorothy and Corey Taylor on tour.
A short but impressive drum solo divided the set, segueing from “Poison Flowers” seamlessly into “Follower”. A cover of “Forever Can Be” by Ashes Divide followed.
Ultimately, Howerdel’s refined distillation of influences from the likes of The Cure, Depeche Mode, Pink Floyd, and Siouxsie & the Banshees were expertly curated into an album that exists as a personal extension of the artist. Howerdel’s prowess at song composition and production shone throughout. The vibe was consistent with the tracks from What Normal Was, so much so that at times many sounded templated.
The only criticism that comes to mind would be: to push the creative identifiers of each track further to create more recognizable stand-alone elements and differentiate similar elements more. Unless of course, the unifying aspect was intentional.
