Robotra are two boys and one girl, delightfully noisy. As soon as they are on, maybe because of the girl guitarist looking anywhere but at the audience with short hair covering her eyes, I am reminded of one of my favorite bands of all time, Verdena - an italian outfit that has existed for over fifteen years and started off with easy listening grunge rock to move onto slightly more experimental, dirty and hard grounds. Robotra start off loud and LOUD, and it takes me an extra second to realise that, wow, that's the voice of the drummer right there. I have a thing for 'unusual' band settings, and that's one of them. To think that a drummer can be extremely tight in his music, perfectly synchronised with the others, not once losing a beat, and can do main vocals at the same time astounds me. So that's an easy way to get my heart, dear. Robotra won mine over straight away.
The last time I saw Destroy, Munich I said to myself, "they are young and like what they're doing, let's see how they evolve." A year later, I watch them get on stage one by one (there's eight of them) and, laughing and joking, manage to cram all their instruments within that small space. I am standing 30 cm away from a gorgeous violin, courtesy of Matthias "Sweet Sweet Moon" Frey, and next to my neighbour who will later, during the encore, spontaneously join the collective to sing backing vocals on the last song - a Michael Jackson cover. The local collective of young, quirky and multi-talented kids has grown. Suddenly, the amount of different instruments they use makes complete sense. It's not (anymore), like it often is the case with music "collectives", a contemporary rock orchestra where extra instruments appear only to make the sound a bit fuller - everyone has their place and their 'function'. They are focused, don't speak much, and retain the influences from the early 90's emo bands of their childhood (here I am tempted to say teenage years, but considering their age, 'childhood' will have to do). Starting off smooth and quiet, their songs move into crescendos of noise, with texts that are simple but not naive and emotive.