HTRK @ Visions Video Bar, Dalston

HTRK are no strangers to delays. Their debut album Marry Me Tonight took three years to get a release following a protracted rights dispute, while another two years will have passed before their second Work (work, work) reaches the eager ears of the audience it was written for, on September 9.

In the meantime, what’s an few extra delays - of support acts running overtime and technical difficulties - if it means the packed-to-claustrophobia audience at Visions Video Bar finally get to see their band?

In fact, all of the above would have been neatly forgiven had the venue sorted out its sound issues, but between excessively loud intermission music and a crackling PA during the main set, one can’t help but have felt disappointed at tonight's missed opportunities. None of this is the fault of the band of course, and vocalist Jonnine Standish apologises for any technical shortcomings at the outset –that’s after drolly overcoming some problems with her drum machine.

An aggressive tension lingers as hot and bothered front dwellers begin to shove each other, even to the point of bullying the sound tech trying to make it through to the stage. Nevertheless, the scene is set as the rumbling energy of new lead single ‘Eat Yr Heart’ bleeds through the tiny pockets of oppressive heat between heads, and one becomes acutely conscious of the fact that this is all rather appropriate.

Standish’s downbeat moan offers morose self-reflection with an acerbic edge as she repeats "Love, love, love" for ‘Sweetheart’ –the B-side track of the 12” album harbinger, available at the door. Eyes fixed just above the crowd, she stares into space - numb with the frustrated desire of her lyrical themes while band mate Nigel Yang either leans over his corner of synthesisers or feeds a guitar through any manner of synthesised distortion.

Joining the ranks of their experimental and noise seniors such as Suicide and Swans, Standish and Yang are pushing forward following the tragic passing of band mate Sean Stewart. That’s all at that same excessively slow tempo that makes them as disturbing as they are engaging.