Review: Machine Head and Fear Factory at Astor Theatre

Machine Head and Fear Factory at Astor Theatre
w/ All This Filth
Saturday, March 9, 2024

Two prominent forces in metal—Bay Area icons Machine Head and industrial masters Fear Factory—have joined forces to bring their Slaughter the Martøur World Tour across Australia and New Zealand. Commencing at Perth’s Astor Theatre on Saturday, March 9, the tour has proceeded eastward to Brisbane, Sydney, Melbourne, and Auckland. This marks Machine Head’s first trip down under since 2018 and Fear Factory’s first visit since 2016. Anticipating a sonic onslaught, fans were forewarned of an immersive experience, with both bands poised to unleash selections from their extensive discographies.

All This Filth initiated proceedings with their industrial groove, skillfully delivered by guitarists Brock Smith and Lenny Onel. The air resonated with mechanical respirator samples as the band delved into a percussion-heavy performance, featuring a well-rounded assault from drummer Garett Stanford and bassist Benny Bones.

Frontman Brendon Preston engaged the audience, instigating an energetic mosh pit while earning the respect of those who don’t attend local shows. Notably, Preston extended a respectful shout-out to Machine Head and Fear Factory, the latter of which he proudly sported on his shirt. Maintaining a strong connection with the audience, Preston injected charisma into his commentary on the thriving Perth metal scene, emphasising the presence of world-class bands—an assertion not without merit.

While subtly addressing mental health, the band showcased remarkable resilience amid recent line-up changes. Preston had the audience clapping along as the band brought their brutal set to a compelling close.

Fear Factory then graced the stage, showcasing their tightest line-up to date.

Pete “The Feet” Webber was an early presence, meticulously ensuring the technical backing track and midi aspects were finely tuned before the lighting dimmed, setting the stage for a gripping intro featuring samples from the Terminator movie franchise.

Amidst the palpable anticipation from the now densely packed audience, the band received a warm welcome. Newly appointed frontman Milo Silvestro, marking his debut in Australia, embraced the legacy left by former frontman Burton C. Bell, commanding the crowd to brace themselves for the onslaught of Shock. As the opening riff reverberated and the atmospheric sound design intensified, the crowd erupted into a frenzied mosh pit, eagerly headbanging to the familiar opening track. With Webber's precision double kick, guitarist Dino Cazares, and bassist Tony Campos (of Static-X) all locked into a tight rhythmic groove, Silvestro effortlessly navigated between clean vocals and ferocious growls, further fuelling the already feverish atmosphere within the mosh pit.

While chronologically and seamlessly merging into the second track of 1999's Obsolete, the mosh pit intensified for Edgecrusher. A rendition that stood out in the overall set, prompting the mosh pit to press fervently against the front barricade while enthusiastically shouting along to the angry anthem.

In a set that featured songs spanning across 26 years of the band's existence, energy levels were maintained with a flawless rendition of Dielectric from 2015's Genexus. Silvestro's clean vocals soared to astral heights during the chorus.

Cazares introduced the next track, Powershifter, a very welcome inclusion from 2010's Mechanize. In parts, it was a complicated rhythm that this new line-up was more than capable of delivering. Cazares and Campos showcased their tight picking in tandem with Webber's kick drum prowess, while Silvestro stepped his vocal delivery up a notch with the intensely pitched screams littered throughout the song.

“In the roar of an engine, he lost everything,” echoed through the venue, a sample from Mad Max that introduced Fuel Injected Suicide Machine. Fans had eagerly anticipated hearing new material from 2021's Aggression Continuum, especially since the album's release had been delayed from its original 2018 schedule due to legal battles preventing the band from releasing new material, let alone the use of Fear Factory as a trademark. The band did not disappoint, with Silvestro delivering a particularly passionate rendition with Cazares pretending to play a piano and conduct an orchestra as the final notes of the song's outro faded out.

Cazares and Silvestro then urged the crowd to jump, delivering a perfect rendition of the band’s most renowned and highly streamed song, Linchpin from 2001's Digimortal. Silvestro was more than happy to share his microphone with the exuberant crowd, shouting, “Can't take me apart!” as the mosh pit chaos surged.

Following such commotion, the stage lighting dimmed as the band swiftly exited for an instrument change. Meanwhile, the opening loop to What Will Become began, stirring anticipation in the weary but eager mosh pit. Both the crowd and the band were deserving of a brief respite. Digimortal is a much-maligned album in the fan ranks because of its accessible nature for American radio airplay, but a genuine feature of the record is Cazares' guitar tone. Silvestro also captured the essence of the song’s sound through his adept use of manually controlled vocal effects, enhancing the authenticity of the performance.

This coupling of Digimortal songs then paved the way for back-to-back tracks off 2004's Archetype, an album to which none of the current line-up contributed in the songwriting process. Cazares had sworn to never include both Shock and Slave Labor in the same set because of the similarities in the main riffs of both songs. Fans were happy with this change of heart as the maniacal crowd barked in sync with Cazares and Campos: “God, help me pour this gas on me!” Webber's remarkable kicks and precise snare work, originally crafted by Raymond Herrera and expertly replicated by Webber, were on full display once again. The crowd-pleaser and title track Archetype then reverberated throughout the Astor Theatre as the lively mosh pit enthusiastically sang along with Silvestro, Cazares, and Campos, echoing the refrain “Open your eyes!”

The band then transported the audience back to 1995, treating them to three songs off an album that a lot of Fear Factory fans gravitate towards. A blistering performance of the title track off Demanufacture ignited the audience, who fervently chanted along with the band, echoing the defiant lyrics, “I've got no more goddamn regrets! I've got no more goddamn respect!”

A track that drew many fans to the band, notably featured on the 1995 Mortal Kombat soundtrack, Zero Signal was tonic for diehards who had waited since 2016 to see Fear Factory once again play live in Perth. The band faithfully recreated the album's sound, with Silvestro's flawless vocal delivery playing a significant role. Cazares once again pretended to play piano as the iconic final notes of the song reverberated throughout the magnificent Astor Theatre.

No Fear Factory set would be complete without the inclusion of Replica. The crowd echoed in unison with Silvestro, Cazares, and Campos, passionately chanting, “I don't want to live that way!”

As Fear Factory's set drew to a close, Silvestro then introduced the epic Resurrection from 1999's Obsolete with heartfelt emotion, underscoring the pivotal role of music in bolstering mental well-being. The composition and soaring vocals of the song already tug on the heart strings of even the most stoic of fans, and Silvestro's gentle addition of humility and vulnerability was a poignant touch. The band delivered a heartfelt rendition of another crowd favourite as the audience sang along in harmony to complement yet another flawless rendition by the band.

Fear Factory is in safe hands with this current line-up, and Perth eagerly awaits the return of the Los Angeles industrial metal titans!

Another band familiar with line-up changes in recent years is Slaughter the Martøur headliner, Machine Head. Despite these shifts, the band remains anchored by one of metal's most charismatic frontmen, Robb Flynn. In 2024, Machine Head continues to operate at peak performance, firing on all cylinders.

As a glimpse of what was to unfold, the rallying cry of “Machine Fucking Head” was splashed across the stunning animated backdrop, its letters seemingly etched in blood. Anticipation rippled through the crowd as they echoed the chant, eagerly awaiting the band's return to the Perth stage. The excitement about the band's visit was compounded by the fact that their Burn My Eyes 25th anniversary tour, scheduled for 2020, had been abruptly halted by the pandemic.

Then, in a moment of electricity, the undisputed masters of murderous riffs, pugnacious grooves, and ferocious hooks emerged. The clean opening riffs of Imperium from 2003’s Through the Ashes of Empires reverberated throughout the Astor Theatre. As drummer Matt Alston's snare work momentarily paused, Robb Flynn's commanding voice pierced through the air with the declaration, “Hear me now!” What followed was an explosion of brutal, infectious riffs, accompanied by a whirlwind of dreadlocks, flowing locks, bald heads, and everything in between, swaying through the stalls and seats. In unison, the crowd joined Flynn in chanting, “Hear me now, words I vow, no fucking regrets!”

In a striking homage to 1997, the band launched into a stunning throwback with the devastating intro, swiftly followed by the firm, meaty grooves of Ten Ton Hammer from The More Things Change… album. This addition to the set was warmly welcomed, with Flynn's hauntingly clean pre-chorus vocal, “I can feel this pain is real, I hate deep down inside,” paving the way for the explosive chorus, “And like broken glass you'll shatter, with bloody fists I'll batter, like a ten-ton hammer, son!”

With the audience fully immersed and energised, they clamoured for more, pressing eagerly against the front barricade, their voices ringing out as they screamed, “I can't stand or take another day, my friend, you could learn a thing or two!”

It was time for a taste of something fresh, and the thrashy CHØKE ØN THE ASHES ØF YØUR HATE from 2002’s ØF KINGDØM AND CRØWN injected a pace that even the mosh pit struggled to keep up with. Reece Alan Scruggs and Flynn's guitar work took centre stage, delivering chaotic solos that were perfectly complemented by Matt Alston's hard-hitting snare work and Jared MacEachern's authoritative bass lines. Flynn effortlessly reproduced the album's speedy, maniacal vocals, a feat made even more impressive by the fact that he'll be turning 57 in July.

Machine Head, much like Fear Factory before them, functions as a generational bridge, their music resonating across diverse demographic boundaries. The audience showcased a broad spectrum, not limited to just bogan men in their 40s. It included mums with daughters, dads with sons, mums with sons, and dads with daughters. Amidst the celebratory atmosphere, a heartwarming scene unfolded: a young woman and a young man in the mosh pit clasped hands, prompting the young woman to introduce her companion to her dad with a handshake. Following this brief interlude, they both swiftly returned to the mosh pit, reigniting the chaos once more!

In 2010, Metal Hammer listed 2007's The Blackening as one of the Albums of the Decade, while on October 8, 2011, it was voted Roadrunner Records' Album of the Century in a poll. The band briefly slowed the tempo with the clean intro to Aesthetics of Hate from The Blackening, before launching into another chaotic thrash assault that tested the endurance of headbangers' necks. Hell's fury seemed to descend as the entire venue joined Flynn in exclaiming, “May the hands of God strike them down,” before eerie guitars resonated through the venue, bringing one of the album's most notable tracks to a haunting close.

Finally, the moment arrived for a nostalgic trip back to 1994, as one of Machine Head’s most iconic riffs filled the Astor Theatre, transforming it into a pulsating sea of sweat and flowing locks. Old made a highly anticipated appearance in the setlist, delivered at breakneck speed by Alston, who led the charge with his hard-hitting performance.

A familiar chant echoed throughout the venue as the graphics reset to the bold declaration, “Machine Fucking Head,”  setting the stage for the band's performance of Locust from 2011’s Unto the Locust. Alston's driving toms provided a powerful backdrop, laying the foundation for Scruggs and Flynn to captivate the audience with their intricate riffing and blistering solos. Widely regarded as one of the most charismatic figures in metal, Flynn encouraged the crowd to join in with his vocalisations of “oohs,”  “woahs,” and “aahs.” In a moment of camaraderie, Flynn and Scruggs engaged in a reciprocated headbanging exchange, further energising the crowd.

As the audience took a moment to catch their breath, Flynn engaged them with a playful question, asking, “Do we have any beer drinkers?” before diving into the iconic The Blood, The Sweat, The Tears from 1999’s The Burning Red. Famously dubbed The Blood, The Sweat, The Beers, Flynn initiated the chant of “beers, beers, beers,” encouraging the audience to echo it back at him. The refrain “So hold on to the end” reverberated through the Astor Theatre, preceding Flynn's impassioned delivery of the song's memorable vocal chorus.

The more melodic tracks NØ GØDS, NØ MASTERS and SLAUGHTER THE MARTYR were welcomed additions, with Flynn demonstrating his enhanced vocal range, Scruggs shining on guitar, and Jared MacEachern’s well-rounded bass sound pulsing through the venue. Eerie imagery of a beautiful stained glass church window animated on the backdrop was soon paired with insanely brutal riffs, culminating in Flynn's exclamation, “Slaughter the Martyr!” The mosh pit reached a fever pitch for the night, with the crowd waving their arms in synchrony with Robb's encouragement and closing the song with intricate precision.

With a chilling blend of high-voltage samples and piercing police sirens, an atmosphere of dread descended upon the venue. An eerie animation depicted seemingly hypnotised humans marching like lemmings towards their demise, plunging into a grotesque human meat grinder. It all unfolded in horror as the band unleashed Bulldozer.

The audience then indulged in some nu-metal nostalgia with the intoxicating rhymes of From This Day. This throwback brought to mind Flynn’s iconic look from the official video of the song, sporting a baggy red jumpsuit with peroxided short blonde hair spiked into what resembled a naval mine. The crowd enthusiastically joined in, singing along heartily to the lyrics, “Time to see, believe this in me, this pain that I feel deep inside.”

A Machine Head set wouldn't be complete without the iconic Davidian. Flynn engaged the audience, urging them to rip their shirts off and swing them above their heads, evoking memories of Kevin Sheedy during the 1993 AFL Premiership Season. As the band unleashed their most notable catch-cry, “Let freedom ring with a shotgun blast,” the crowd erupted into a frenzy of headbanging and shouting. The mosh pit ignited with a fervour unseen all night, pulsating with energy in what felt like the last song of the show.

The band briefly exited the stage, only to return for a much-anticipated encore. Flynn playfully egged on a member of the crowd to do a shoey, adding to the excitement before launching into Halo. The song was adorned with beautifully brutal riffs, intricate solo harmonies, and Robb's deft, clean vocal touch. As the night drew to a close, the circle pit fired up once more, fuelled by the firm, meaty grooves that concluded the unforgettable performance.

Flynn proceeded with his signature outro, skillfully engaging the crowd from left to right and back again. Renowned for his charismatic stage presence, Robb Flynn undoubtedly captivates the metal world with his remarkable performance. As a perennially influential force in heavy music, Machine Head has persevered in their exhilarating evolution, maintaining the fierce spirit of their underground origins. Unaffected by passing trends and steadfast in their individuality, Machine Head remains the unstoppable force that reigns supreme!

Perth eagerly awaits the return of Machine Head, one of the most influential and incendiary bands in the metal world.

ANDY JONES

Photos by Stu McKay