HEALTH, Perturbator, King Yosef @ The Gov, Adelaide 25/9/2026
“I have no idea where this will lead us, but I have a definite feeling it will be a place both wonderful and strange” – FBI Special Agent Dale Cooper (Kyle MacLachlan), Twin Peaks S2E18: On the Wings of Love
Whilst the world abounds with artistic talent, there exists a finite number of creators that transcend worldly measures. Those that defy boundaries of style, amalgamate modes and captivate audiences of diverse persuasion are truly rare. Unique still are the inventors who share their art and genius with the world – their compatriots, as generously as their admirers – unapologetically, enigmatically, wholly.
Such accolades deservedly apply to the entity that is HEALTH. A trio of musicians as renowned for their contribution to the conglomerate of industrial metal as any other number of cultural mediums, their reputation is equally built upon innovation and inclusivity. Encapsulated in this most recent, annual Australian visit by staunch support KING YOSEF, on and off the stage, we all owe a debt of gratitude “to our good friends” for their gift of art.
As the soundscape of King Yosef oscillates, the namesake erupts upon the stage. Molting Fear as he paces with seething intention, The Dull Blade of touring drummer Lyndon thrashes against cymbal and snare. Yosef attests “we will let you be calm, for just a little bit longer”; they Cut the Cord. A looping sample hauntingly collides with the frontman’s screams, The Gov’s eclectic atmosphere embodies Twin Peaks’ Bang Bang Bar.
Impenetrable swirling smoke engulfing multi-instrumentalist Cameron in a Mist of Pain, the Glimmer of yellow downlights attempt to break through the smog. Yosef proudly announces, “That one goes out to my wife; I can always tell when I’ve written something good” by her echoes of approval, the next is “for all three of you” who’ve seen King before. “This is Portland, this is Power”, the rhythm leads the crowd Vi Coactus, on the ascent, toward the Spire of Fear.
In opening a second theatre in The Art of War, French phenomenon PERTUBATOR imbibes a distinctly dystopian element into tonight’s Apocalypse Now. In synonymy with all artists this evening, genre fluidity is latent throughout the production. Embodied by the unmistakable voice of Norwegian experi-metallists, ULVER, featured on the Age of Aquarius anthem, the track’s breakdown emulates HEALTH and their Corrupted by Design aesthetic.
Hair flaying, the Diabolus Ex Machina switches between keyboards, striking the instrument’s frame in time with accompanist Dylan Hyard’s electronic drumkit. The duo commanding their respective Weapons for Children with Tactical Precision, the audience converges. Neo Tokyo ravers share the Future Club with Cum Metal marauders, body heat of the throng tie the collective together, one and all warriors of the Tainted Empire.
A Cruel Angel’s Thesis prefaces the epic fantasy yet to be written; HEALTH’s protagonists now honorary citizens establish the VIBE immediately. Johnny Famiglietti bathed in blue, playfully jibes linguistically and physically with the seething crowd. Drummer BJ Miller stands to attention for AUSTRALIA 2.0.2.6 and TRASH DECADE, while Jake Duzsik carries his guitar and divine voice to front of stage to soak in the HATEFUL red haze.
A mysterious fourth member providing some serious SHRED ENVY, HEALTH’s CRACK METAL proves again to be the ANTIDOTE for all that ails the CHILDREN OF SORROW hypnotised in the venue. Quizzically, Famiglietti enquires, “Who was here last time?” A roar precedes Duzsik’s own Lynchian riddle, and allusion to the “technical limitations” to be rectified tonight, in penance for MAJOR CRIMES of former years.
The band’s bassist (and unASHAMED self-appointed jester) asks of us again, “Who here likes video games?” Intimating the cross-reference of HEALTH’s artistic endeavours, TEARS of audience members are induced by a strobelight assault. As if swimming in the harvest, WE ARE WATER at once, floating in the stage’s opalite viscosity for the ethereal duet of YOU DIED and DEMIGODS.
Remaining in the RATS WARS era, FUTURE OF HELL sees Duszik become increasingly expressive, his hands as animated as the long locks of his bandmates’ hair in the regenerated lightning flashes. The stage prematurely darkening, the crowd momentarily mourn no ORDINARILY LOSS before Duzsik’s melancholy rebirths the spirit and slices through the darkness, in time with beams of purple and red.
Repeating the dalliance in the penultimate track of the performance, DON’T KILL YOURSELF builds from dulcet tones to distorted dance into dead silence. Duzsik narrating his final intermission recognises Adelaide: “We don’t get to come here as often as we’d like, but you all have been really great. I’m not into false truths, I find it unnecessarily dishonest, so here’s another one for you – this is the last song.”
A moan of dismay can be heard but is soon replaced by shrieks of ecstasy, driven by Miller’s pulsating drumbeat and sustained by the Badalamenti-esque synths emblematic of the episodic DSM-V. True to themselves and the form to the very end, Famiglietti calls to be crowd-surfed to the bar, a final homage to the multiplicity of true art, the mystery and the honour of being brought along on the journey.
Live Review By Belinda Quick