SWISS CONSPIRACY CONTINUES UNABATED! KROKUS AND THE CHOCOLATE DILEMMA
Good Friday at Cobo Arena: Mandy Meyr had ended Krokus’ 27-minute opening set by dragging his guitar across the stage, eliciting all sorts of nothing-but-noise. The hapless axe moaned and tweeked as Meyr roped it in like a wayward dogie.
SWISS CONSPIRACY CONTINUES UNABATED! KROKUS AND THE CHOCOLATE DILEMMA
J. Kordosh
Good Friday at Cobo Arena: Mandy Meyr had ended Krokus’ 27-minute opening set by dragging his guitar across the stage, eliciting all sorts of nothing-but-noise. The hapless axe moaned and tweeked as Meyr roped it in like a wayward dogie. The rest of the band had left the stage a couple of minutes earlier—ain’t no way an opening act on a three-group bill’s gonna get an encore—but Meyr sure played the end for all it was worth.
In fact, the Krokes had played the whole 27 (count ’em!) minutes for a screwy good time. I didn’t know whether I should’ve been more surprised or annoyed—who wants to like a Swiss Heavy Mechanism with what is perhaps the single most stoopid name on any two continents?? Not me, but whaddya do when the bass player does a manic stand-up drum solo, running all over the stage like the chocolate’s boiling over? And it’s good?! I just tried to forget that singer Marc Storace sounded too much like Bon Scott and went backstage to see what kind of case the defense had mustered.