Tour support came from Washington D.C.’s female led Novarium and New York’s Echo Black with local help by 29 Red.  Each band added their own special touch of arena showmanship to the stage.

The three-person 29 Red started the ceremony masked in a revolving curtain of crimson light. Singer Stephen29 was decked out to preach and prophesize. With fellow dual band mate Spencer Burton on electro-drums. Creating Imperial light saber battles with drum sticks with the beauty of the group, the dolled up lioness Erin Holly ready to scratch out eyes and claw out hearts.

The evening industrial wasteland began with “Watch Yourself” with “NBNW,” adding a touch of class with their version of ATC’s “All around the World.” They finished with an unnamed tune to keep the crowd guessing. New EP Exposure Effect releases next month.

Novarium came forth with a symphonic Dream Theater mixed sound ceremoniously crossed with a voice that breathed sweet Evanescence and the harsh screams of Arch Enemy.  Vocalist Lisa D’Arcangelis treated the mic as both a lover and a bitch trading vocal styles throughout the show. Guitarist’s Dean Michaels and Sean Gronholt, drummer Dean Anthony and bassist Eliakon turned up the amps, attitude and rock atmosphere.

D’Arcangelis’s delivery carried an inherent sadness and despair adding emotion weight to the songs. They opened with two new tunes, rising up with the “Phoenix” and things best left described in abbreviation on “S&B.”

The storm came out to reign summoning the church bell on the ominous synth intro of “Remains.”  Echoes of power metal with prog and thrash crashed and banged together with Eurythmic charm and classical strings.

The ballad-like “Chimera” breathed out smooth emotionally lingering vocals layered in keys, bringing out the love to everyone accompanied by rock guitars. Giving off musical vibes and visuals like a mortal goodbye to a heaven bound spirit.

“Delusions” came off classical expanding into chemical keyed experimentation and thrash build up with D’Arcangelis letting the growl out a few times. “The Unworthy” charged along with the warlike metallic bounce and pace of a fellow Arch Enemy.

“Reverie of Shadows” finished strong with guitars delivering mosh pit pounding riffs bouncing off D’Arcangelis lungs like chorded kicks to the face.

From the gutters and glitter of New York, vocalist Danny Blu formed and fitted Echo Black. What the New York Dolls spliced with The Misfits, Gary Glitter, Iggy Pop and Bowie might have morphed into after a late night of ‘unmentionables’ at Studio 54.

Since 2015 they’ve sported the dark side of disco, with spotlights soaring and crew dressed to dominate playing their version of goth pop rock. Rock star showmanship bound tight with nods to ‘70s era decadence and ‘80s glam with diva attitude.

Billed as the sound of midnight, their stage show is a bright, blinding and shiny representation of all things questionable and mischievous behind the private curtain after the witching hour. Guitarist Felix Skiver, bassist Rob Gnarly and drummer Billy Long made the sounds for the stories Blu brought to life. Blu even made a mid-set trip into the crowd dancing with the gathering, hanging out on the adult jungle gym.

The deadly mean streak of “Burn another Day” began the night’s game of life and death. “Pleasant Nightmare” brought forth Blu’s solo material experimenting with the filth and pleasure of addition injecting some industrial flavors.

Sexuality of all types and persuasions was celebrated like an elemental reaction as “Chemicals” and memories danced and bubbled through the catchy pop tune.

The synthetically induced “Perfect” loomed and lurched forward like the shadows of what we once were with inner struggle mirrored in our own personal asylums.

The carnivorous night angel emerged with diabolic appetite on “In the Dark” as haunting vocals creeped and crawled shadowing bad intent, proclaiming his arrival. The band brought up some of the assembled, dedicated and faithful on stage to bask in the spotlight.

They ended with the physical persecution of “Set me on Fire.” You can hurt and maim the body but can’t touch freedom of the soul and spirit.

The crowd swarmed front stage like rabid walkers clawing a cage, waiting for the night’s headliner. The mechanical hum and murmur of “Thy Serpent Tongue” began as the sound making pale faced synth-sayers caressed the keys in monster guise. Bellum’s mechanized spastic vocals spit and spewed like a hybrid reptile’s shaking tail ready to strike. A weaponized acidic forked tongued delivery; spoken by the face of a withered wandering spirit.

“Better than Suicide” began with empty despair; building up like dancing tattoo needles. Painting painful memories with sharp bite on the skin and soul with drums and guitars leaving shot-gunned beats imprinted in the mind.

“Divine Infekt” questioned a life lived to earn a spot in hell. “Clinik” reeked of sterilized laboratory sickness. “Resurrekt” whirled around with a subtle melancholy mimicking leather boots stomping the dance floor.  Keys hissed with blasphemous tongues on “INRI” proclaiming the burden of proof and evidence requested for divine belief of existence.  “Behind a Serrated Grin” spilled out a heretic’s mindset seething spiritual cynicism in favor of the indulgent pleasures and promises of the morning star.

“Visceral Holocaust’ spelled out the esoteric road to the left adorned with bleeding bodies and visual splendor. What lies at the end could be damnation for some and delivery for others.

“Anaesthetic (For the Pathetic)” laid out a better felt reality through artificial remedies. Better the lucid calm and serene numbness than cold hard reality. The dismal hopes and predictions of “Flesh Harvest” prophesized the burning rain will come to punish and cleanse as we melt away. God can have the rest.

The slow lurch and creep of “Parasitic” ended the main set with predatorial beats and animatronic keys, like limbs flaying on strings celebrating the carnival and carnivoristic appetites that feast behind closed basement doors.

“As You Sleep” encored, ending the celebration with lyrical submersion into synthetic slumber.

Images by Mike Ritchie

Psyclon Nine set list courtesy of Jen Stratton