Even though this was around the time that Die Warzau was starting to lose it for me with Big Electric Metal Bass Face, this show marked the first time I'd ever seen the same band three times, thus cementing my status as a real fan (in my mind.)
By this time in 1991, my first band GOG had done some recording and we were putting together our stage show--we wanted to be the opening act for this show but Die Warzau instead brought the really atrocious Candyland. I remember that we got to the venue extra early so that I could hunt down Jim Marcus and give him a demo. I would later find that kind of behavior really desperate and misguided but at the time, I don't think EVERY town had a budding electro-industrial band who had actually recorded something so it was at least a little novel. I'm sure there were demos all over the place, but Marcus made me feel like he really appreciated that I'd want to give him a demo. In fact, now that I think about it, I might have mailed him something before the gig so he would know I would be there.
I think that this aspect of Jim Marcus owed to the kind of hippy love vibe that he was all about and was slowly bringing to the world of angsty industrial music. Years later, that tone would really drive me away from Die Warzau's music, but I have to at least say that I think it's all very genuine on his part and of all the guys in bands I ever met (outside of Consolidated,) Jim was about the nicest, most approachable guy ever.
Now, I was a BIG Die Warzau fan. I had the promo cassette of their first release for Fiction. I had a press kit for Big Electric Metal Bass Face. I had my Disco Rigido shirt in tow, and I had been able to introduce all of my Florida friends to a band they'd previously never heard of, so I felt that strange kind of fan ownership over the band that people often get when they feel like they've discovered something on the cusp of blowing up. Die Warzau never blew up, in fact. This was probably the biggest tour they ever did (aside from opening for NIN,) but I still had that protective kind of possessiveness about them where I wanted them to do really well, but I didn't want to see a lot of poseurs at the shows.
Die Warzau was certainly responsible for the angle grinder that GOG (and later Rabbit in the Moon) would use as part of the stage show. Die Warzau was also instrumental in planting the seed in my young mind that a guy with a bunch of electronic drum pads could trigger more than just drum sounds--since this show was played entirely live with loops that were triggered from the drum pads. Little did I know it, but the guy triggering all those drum loops was none other than Chris Vrenna. Years later while I was recording with Underwater, I would talk to Chris about that tour and how they did it and he was kind of amazed that anyone remembered it and what he was doing! Looking back on it, that was actually one hell of an influential show.