Kevlar – New Fears New Fights

Kevlar – New Fears New Fights LP Unrest Productions 2017

Since 2014 Kevlar have issued two full lengths and a cassette EP, with New Fears New Fights constituting their third full album. In then making a perhaps obvious comparison to earlier output, while I do like Kevlar’s prior albums (Alpha Strife and Criteria), at the same time I found they tended to not stay in rotation long in favour of other listening choices.  But it is from this perspective where New Fears New Fights standard apart, given there is an immediate sense of urgency, increased aggression and overt antagonism to this which elevates it to the next level.

To then comment on a projects within an industrial/ power electronics style, clearly there is no shame in reflecting inspiration, but this is also on the proviso that the end result needs to be more than a mere copyist project. Although direct comparisons can be drawn here to now classic elements from German and UK scenes (i.e. simple shuddering synth lines, layered loops, cascading distortion and antagonistic flanged vocals), with their focused and honed style Kevlar absolutely achieve a personal and most importantly a current take on this sound. 8 tracks feature on the album, with each spanning 4-6 minutes each, which should give an appreciation of the direct focus on display.

With a battle cry sample of “we must not be afraid to define our enemy”, Triumph Of Fear kicks in hard with driving loops buzzing distortion and crowd and alarm field recording adding to the overall tension. A great start.  With Power To Act feeling as if a lengthy bridging piece to the more focused Power Of Blade, with the later being a standout track of burrowing distortion, layered loops and flange treated if the attacking and antagonistic vocals which are mixed prominently upfront in the mix (…and which partly reminds of The Grey Wolves classic track Victory Through Violence). The title track then rounds out Side A with a stuttering rhythm, bulldozing drones and proclamation styled vocals. Another excellent track.  Mechanism opens Side B, and another example of simplicity creating fist pumping and blood boiling impact, achieved via urgent cascading loops, a general buzzing and queasy tonality (…and while a number of vocal samples are employed the main decipherable element is repeated word “incompatible”). Martyrs Crown with its brooding and atmospheric tone and looped method of construction reminds of German styled heavy electronics/ power electronics approach not too far from that of Ex.Order or early Anenzephalia. Despite is forceful tone, blown out oscillating noise and jagged tonal outbursts, Barbed Wire is entrenched with a morbid by aggressive tone to round out the album.

Based on Unrest Productions’ current roster, the label is shining a spotlight on the UK underground which from the outside looking in appears to be the strongest and most active underground scene currently operating, with Kevlar’s New Fears New Fights being a pinnacle example. Packaging wise the simple greyscale cover and insert features only basic information and functions to hammer home its direct impact. Although not reinventing the wheel Kevlar have issued an extremely impressive industrial/ power electronics LP and which is absolutely representative of the best of what the underground has to offer right now.

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Am Not – The Developing World

Am Not – The Developing World LP Tesco Organisation 2017

Based on the debut album Unpunished from 2015 (reviewed here), Am Not made a strong impact on the underground. Now two years on Tamon Miyakita returns with his follow up, but this time noting a move from the original home of Unrest Productions to Tesco Organisation.

Before providing commentary on the music, an analysis of the album’s art is warranted given the cover appears to be embedded with layered symbolism. To this end an observation to be made is that the main image showing Helios, the Greek Sun God, and based on Plato’s Republic Helios is the symbolic offspring of the idea of ‘goodness’. This image is then overlaid with a semi-transparent photo of a modern skyscraper, while the album’s title is designed backwards and can only be read properly in a mirror’s reflection. An interpretation of this combined symbolism could be as a comment on whether the principle of progress and subsequent global hegemony forms part of the greater ‘good’ of the evolution of society, or in fact should be regarded with caution by developing countries as a controlling corporate agenda with negative consequences (…although these observations may be completely off the mark and others interpretations may yield other interesting and divergent results).

To then the speak of the music, the element of surprise which was generated via Unpunished has given way to a degree of expectation for this new album. Upon first listens the same song based format and meticulous approach to the construction of the tracks is noted, but at the same time the sound palate is more varied and less sharp edged or clinical, but instead opting for a rougher and harsher tone in its blend of industrial and power electronics elements. The detached and strongly observational lyrics delivered in an apathetic or deadpan style are again a standout, although the vocals on album tracks Martyr’s Little Helper 1, Market Penetration and Beleaguered and Native II do rely on a heavily flanged treatment to excellent result. Likewise the guest vocals courtesy of Martin Wilford/ Shift on The Hunt differ by being a heady barrage of unbridled anger, functioning as another layer within the sonic framework of forceful cyclic drones, spitting static and pounding junk metal clatter. White Crimes is a particular album standout, being a contemplative piece of subdued rhythmic programming, squelching/ fluttering noise and sustained drones, as the vocals drive home its clear message within a understated but anthemic style. Perhaps then constituting the ‘hit song’ of the album, Home is a revelation, with its melodious organ drone, swaying rhythm and cyclic percussive beat and now trademark spoken vocals (…which is a thematic imagining of the People’s Republic of China welcoming Hong Kong back into the fold in 1997).

With this album Am Not clearly demonstrates a project which understands its context and linage, but has taken such a template to make an individual, forward thinking thematic approach. With a highly varied sound over its 10 tracks The Developing World is no mere retread of Unpunished, but builds upon what has come before to exceptional result. The LP version comes with a full colour A4 12 page booklet with graphics and all lyrics, and overall is clearly another high recommendation.

Human Larvae – Behind Blinding Light

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Human Larvae – Behind Blinding Light CD Malignant Records 2016

For those who missed the original LP version released by Freak Animal also in 2006 (…perhaps due to the limitation of 300 copies, or maybe vinyl is not the preferred format?), Malignant Records have been kind enough to quickly reissue this on CD.

Not to repeat the original review (which can be located here), this is an excellent album and one of the best of last year. To then quote the conclusion of the full review: “Without being in any way derivative, ‘Behind Blinding Light’ is a strong, focused and sonically diverse industrial/ power electronics release which demonstrates full control over its sonic elements, both in the recording and their construction”.

All elements of the original artwork are included here, but reformatted in the guise of a 8 panel fold over digi-pack. In a word: recommended.

Shift – Ruminations / Uncodified – Maybe All Is Not Completed

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Shift – Ruminations 10”ep Unrest Productions 2016

Uncodified – Maybe All Is Not Completed CD Unrest Productions 2016

Shift’s ‘Ruminations’ ep was first issued in 2015 in an cassette edition of 100 copies on DumpsterScore, but in my estimation this was far too few copies given the quality of the release.  Luckily the project had the same view with it being reissued on vinyl via their ‘home’ label and in a larger edition of 205 copies.

Following on from the monumental ‘Altamont Rising’ album from 2014 ‘Ruminations’ features around 20 minutes of material over two lengthy untitled tracks. Noting that Shift’s sound has evolved over a number of releases to gradually step into more aggressive power electronics territory, ‘Ruminations’ continues this evolutionary process. So whilst Shift’s trademark laborious layering again forms the general approach, here the layering is also used for maximum dynamic impact.

Track 1 quickly beds down a number of loops to provide basic structure which set the scene (i.e. idling machines, slow metallic thumps, loop of a youth yelling something unintelligible etc.). But things REALLY kick in when the distortion flayed vocals arrive (mixed prominently upfront), followed by yet more sonic layers of what can only be described as ‘jet engine’ powered distortion. As such the layered elements are gradually added which slowly build the track to monumental proportions and then sustained for the remainder of the piece. Likewise with its multi-layered approach the sound is thick and loud where each layer is clearly balanced within the mix to create a colossal sound. Track 2 then side steps the direct power of the first side somewhat by being a touch more subdued, although the sound still maintains a crushingly heaviness. As such the piece is constructed around intertwining queasy ascending/ descending atonal analogue drones, coupled with a slow rhythmic thud whilst the roared/ distorted vocals sit more to the centre of the mix (…yes, another great track).

It seems Shift are really going from strength to strength which is evidenced by the gradual refinement and honing of their overall approach towards more aggressive power electronics realms. Although being characteristically of the sound which can be recognised as that of Shift, the increased urgency and aggression of these tracks really given it a more focused and direct impact. Thick vinyl pressing and double sided cover rounds out the physical packaging. Recommended.

Moving on to Uncodified, this solo project of Corrado Atlieri has been rather prolific since 2011 (19 releases and counting – with a number being splits or collaborations), with ‘Maybe All Is Not Complete’ the latest full length album.

8 tracks spanning 40 minutes are featured on the album which very much constitutes direct and clinically tinged industrial noise and ‘instrumental’ power electronics given the distinct lack of vocals.  Buzzing and burrowing mid-toned frequencies swarm alongside micro-tonal textures and further coupled with basic rhythmic structure and whipping static etc.  These varying elements are then assembled through layered mode of construction which provide further form and direction.  As such it is the sonic layering, tonal separation and the panning of sound between speakers which adds to the general complexity of the material on offer.  Although much of the sound is loud, sharp and in most part clinical, there is also a coarse underbelly of corrosive scrap metal racket and hollow tonality, of which ‘Deception’ and ‘Overhead’ are particularly excellent examples of this duality of sound.  The final track ‘The End Is Never One’ delivers quite a sonic surprise given it approaches ‘heavy electronics meets dark ambient’ territory, and with its melancholic drones and layered sweeping windswept textures it is a serene and contemplative conclusion to the album.

When compared to the last solo full length ‘Hardcore Methodology’ from 2014 (reviewed here), this new album has a far greater degree of focus and urgency, which has consequential elevated its sonic impact. A simple black and white 4 panel digi-pack rounds out a ‘no frills’ but expertly executed album, which very much suits and fits within the sound and attitude of the expanding Unrest Productions roster.

Isomer – Three Kestrels

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Isomer – Three Kestrels LP Tesco Organisation 2016

Over a span of 15 years David Tonkin aka Isomer has generated quite varied output within the broader post-industrial underground, which has resulted from a shift in the methods of recording and production.  Of the greatest influence in the process has been the move away from the use of computers during the early days, towards the current era relying on analogue synths and individually generated sonic inputs (noise equipment, found sounds etc). Noting also that Isomer was silent between 2011 and 2015, during this period David focused on his side project Rope Society, which saw him expanded his sonic palate to rougher industrial/ junk metal/ noise, which in part has now bled back into his main project.

To talk of the new album ‘Three Kestrels’ comes 5 years on from the ‘Nil By Mouth’ EP, which itself was released to coincide with a live performance at a Tesco Organisation related festival in Germany at the time.  Given this EP included heavy inspiration from and homage to a ‘German’ power electronics sound, ‘Three Kestrels’ is a logical continuation of that sound, but perhaps oriented along a more restrained and stalking approach which also draws upon elements of heavy electronics and death industrial styles.  From this perspective the opening cut ‘Mourn’ is an excellent example of a sound which sits at a midpoint between such genres traits, featuring rough elongated drones and crumbling industrial noise with a melancholic edge, where the treated vocals are also a standout element.  The following ‘No Reply’ is slightly more in a ‘classic’ power electronics vein which mixes a queasy/ throbbing synth and rough squalling distortion, where the utilised dialogue samples counterpoints the track’s title against the apparent faithful issuing their prayers.  Then in shifting gears down a notch, ‘Basic Terrain Data’ encompasses a death industrial tone of associating drones and bass throbbing rhythms and micro-tonal textures as the dialogue samples articulates scenarios of societal unrest and violence.  ‘Gods and Men’ rounds out Side A with a solid example of crude industrial rumble and static featuring a thick, bass driven morass and junk metal clatter/ barked vocals.  

Moving on to Side B, ‘Induction’ reminds of the stasis based approach of Proiekt Hat, where the repetitive throbbing loops and rumble sets the scene for a prison based dialogue sample which outlines various systems and processes within within a prison complex, yet ultimately functions to outline a nightmare of banal incarcerated boredom.  Yet even with this implied negativity, the track manages to engender a ray of hope through a lone voice advising that there is nothing wrong with feeling suicidal, but not to give up as you never know how far away success is.  With its sustained drone, modulating textures and dour melody ‘730’ feels as if a bridging piece to the concluding title track which is another clear standout to these ears (as with the album opener).  Framed around a base a modulating synth rumbles, the distant and distortion scarred roared vocals (although unintelligible) articles a strong and emotive edge, with their emotional impact further increased through the sustained, minor keyed melody cutting a strong melancholic tone.

In a discographic sense ‘Three Kestrels’ is perhaps David’s strongest and most well rounded release.  Likewise with its focus on rough heavy electronics and subdued power electronics, it is such that it sonically warrants and benefits from its vinyl pressing.  Apart from the greater bulk of material pushing towards a sharper and aggressive tones, it is of note that a mournful and melancholic thread underscores the album.  This more emotive edge seems to be clearly rooted in some significant personal upheavals David and his family have been working through during the period in which this album was recorded, which only adds to the depth and impact of its final result.   A great album.

Vril Jäger – Vril Jäger

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Vril Jäger – Vril Jäger LP Heiðrunar Myrkrunar 2016

Vril Jäger is a new project featuring Kim Larsen – better known for his main neo-folk project Of the Wand and the Moon, and Thomas Bojden – better known for his main martial industrial project Die Weisse Rose.  Perhaps then in making a concerted effort to side step any direct comparisons or similarities to their main projects, Vril Jäger stands apart by evoking an early to mid 1990’s ‘heavy electronics’ sound, but further augmented with ritual / martial styled percussion and sub-orchestral dark ambient elements. The music framework is then completed with dialogue samples and strong commanding vocals (both spoken and whispered with slight studio treatments being applied).  Thematically speaking the lyrics and dialogue samples reveal a focus on a variety of interlinked conspiracy theories and occult symbolism including: Vril Society/ Vril energy, electronic voice phenomenon (EVP), parallel dimensions, hollow earth hypothesis etc, which works rather well to present a strong conceptual base.

For the opening track ‘Vril-Ya’ presents a lengthy piece, assembled around ominous drones, slow booming Japanese war drums, atonal drawling horns and clattering ritual percussion, where the whispered and slightly treated vocals providing a ceremonial edge (…without doubt an excellent start).  Interestingly the following track ‘Maw of Kalki’ constitutes a direct channeling the atmosphere of early works of Predominance (a high compliment from these quarters), but noting the sub-orchestral synths and choral type vocals gives rise to this comparison, here it twisted to individual result with its martial / ritual percussion.  With the first side of the LP featuring only 2 lengthy track, instead the second side features 4, consisting of 2 short vignettes to bookend the other 2 middle tracks of 6 to 8 minutes each.  Following a similar sonic scope to the first side, ‘Through The Firmaments’ is a drawling soundscapes featuring driving ritual percussion and layered wailing horns, while ‘Radio Wyrd’ is noteworthy fort its shrill strings of rising dread as a backing to a documentary dialogue sample talks of EVP/ inter-dimensional phenomenon. ‘Sanctified by Constellations’ then concludes the album in short and simple guise, featuring a sparse yet achingly morose sub-orchestral melody, with a short poetic tome.

Despite the label promo stating that Vril Jäger should not be considered a ‘side project’, nevertheless it came to my attention on the basis of its members. But making good on their assertion that Vril Jäger is not a mere ‘side project’, it has still caught me by surprise me by how different it actually is when compared to initial ‘face value’ expectations.  As such Vril Jäger have arrived as a fully formed and thematically focused group, whom in the process have delivered an excellent debut album.  As a final note on the album’s presentation, whilst the spot varnished logo of the cover is slick and understated, it is also rather plain and uninspired, where the group’s photo presented on the back cover would have in my estimation made a more compelling front cover.

Tower Transmissions VI Festival 2016 Review

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Tower Transmissions VI Festival 2016: 16th/ 17th September, 2016

Club Puschkin: Dresden, Germany

Friday night: Salo Salon, Satanismo Calibro 9, Nocturne, 1997EV, Club Moral, Snuff

Saturday night: Sick Seed, Soldergeist (did not perform), Satori, AIT!, Genocide Organ, Einleitungszeit


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Tower Transmission VI: show report

Review: Richard Stevenson

Photos: All photos by Nero Azzolut, except for above ‘Groupo de Autodefensa’ photo of Genocide Organ above by unknown


Although 2015’s Tower Transmission V was an excellent event (reviewed here), the fact that Genocide Organ has to cancel their headline slot created an ‘unfinished business’ scenario for me, which resulted in my return to see them headline 2016’s VI edition of Tower Transmission. Thus the long journey back to Europe was facilitated as part of a two-week vacation, with attendance at Tower Transmission VI being the centrepiece of the trip. Being held again at Club Puschkin: a nightclub venue with dedicated stage, sound booth/ sound system and bar, as per last year mechanise from various sellers (myself included) was available in the space between the main stage and bar area, with further large circulation space in a ‘chill-out’ back room and further outdoor area. After arriving at the venue around 6pm on the Friday, time was spent drinking and chatting with some of the Finnish crew in attendance, before moving inside to set up at the merchandise table and to watch the first act.


Seemingly relative newcomers, Salo Salon were in the perhaps unenviable opening festival slot. For their show, it featured both banks of pedals and noise equipment at side stage, and oil barrel and other mic’ed up sheet metal to the centre of the stage (…in addition to the use of a video backdrop). With both members clad in black and balaclavas, it started with using the noise equipment to build a base of hard industrial noise clatter and further augmented with live junk metal abuse and manipulation. Although there seemed to be clear aggressive intent on the part the duo, this was however not fully reflected in final stage performance and in the end seemed to lack impact and appeared to be not much more than an improvised and rather uninspired ‘bashing randomly on junk metal’ session with an industrial noise backing. Generally it all lacked ‘something’ in final execution and while perhaps the project will improve in the live arena with more stage experience, it did not hit the mark this time around.ss2ss1 ss3


The Italian ritual industrial trio Satanismo Calibro 9 were up next and from my perspective delivered the first highlight of the festival. With all three members sat on the floor in front of various noise implements, this allowed focus to be equally on the video backdrop, a small ritual alter to centre stage and the members themselves. With the main vocalist being sat in front of a ‘rat’s nest’ of cables, throughout the show he delivered commanding and low drawling vocal chants, which were coupled with additional noise created from contact mic’ed ritual bones and sheet metal. The other two members focused also on providing layers within the ritual soundscape, while the ritual aspects were further realized through one member drawing sigils on sheets of paper and burning these at the ritual alter at key points throughout the performance. Although being perhaps more ritual dark ambient on record, in the live setting the presented sound represented a heaving maelstrom of droning industrial / ritual chanted soundscapes with both force and presence, where Satanismo Calibro 9 presented a very strong and excellent performance, with controlled pacing throughout.sc96sc91 sc92sc95sc93sc94


Up next was Nocturne, where it has been many years since I have paid attention to their musical works. Although I appreciated their very early ‘Les Joyaux De La Princesse’ styled martial industrial material, it was their overly long industrial noise show at the two day Stigma Industrial Festival in London in 2001 which turned me off the project, and meant I did not follow any subsequent output. Given this context I was then most surprised when Saphi and supporting female member Cecile delivered a set of minimal synth & martial industrial pop songs, thus charting a new sound and direction for the project. Featuring Saphi on mostly the synths and musical equipment and Cecile on violin, with both members sharing lead vocals depending on the track. A clinical/ medical/ phycological slant appeared to be the main thematic focus as demonstrated through both the lyrics and lab-coats being worn, noting that both members also engendering a strong stage presence and holding character relative to the spoken/ sung lyrics being delivered. Although this style of music is not one that I would listen to at home, in the live setting it was a strong and entertaining performance.n1 n2 n3n4


Being a project I was previously unfamiliar, 1997EV are evidently a cult-revered project in some quarters. In the end 1997EV revealed themselves to be a psychedelic noise rock act framed around 2 guitars and drummer, but given this is a style and type of music which is not typically to my taste I took the opportunity to instead mingle with other guests of the same view.  Can’t like everything as they say!97-1 97-2 97-3



The technical headliners for the Friday night were long standing Club Moral who have been operating in various formations since 1982. Although I am partially aware of the legacy of the group, musically they are a project that have simply passed me by, so I was left with no option to experience their performance on face value. Although initially delayed with some sound equipment issues, the male/ female duo soon launched into a set of vocal lead minimalist synth/ atonal industrial ‘songs’. For the performance it involved Anne-Mie Van Kerckhoven seated at a table to manipulate a sound equipment, while the main focus of Danny Devos was to deliver the vocals while either stalking the front stage or making random angular arm gestures at the microphone stand. My main impression from the performance was that Club Moral exemplifies the initial early era of ‘industrial’ music, where there were little or no genre classifications and the music reflects a perspective that the music can be whatever it is, without compromise. Although musically not being to my personal taste at all (particularly given there seeming to be a lack of seriousness), the performance was definitely well received by the bulk of the audience, where the crowd reaction also managed to generate an encore from the group. Later discussions with various attendees also highlighted that the show was considered excellent as it was based on numerous old ‘hits’ from the group, rather than a set of more academic ‘sound-art’ material which I was informed that have delivered in recent times.cm1 cm2 cm3


Thus the final closing act for the Friday night was Snuff, being a Finnish project associated with the Filth & Violence label and a collaborative duo featuring Pasi Markkula (aka Bizarre Uproar) and Pekka PT (aka Sick Seed & Gelsomina). Talking with Pasi and Pekka over the course of the festival I was informed that apart from a private performance the TTVI show was the first public performance of Snuff, but given both of their extensive experience in the live arena, the show promised to be a strong one, which in the end amounted to the standout show of the Friday night. Appearing to take on an archetype and ‘stereotypical’ appearance of a sex offender, chosen stage wear consisted of sweat pants, zip-up sports jumpers/ hoddies and ski masks. With both members utilizing racks of noise pedals and associated equipment, a number of large stage speakers were also employed to facilitate a wall of shrieking overblown feedback. Over the course of the set a fierce power electronics / filthy noise industrial set was constructed, with both sharing turns howling aggressive vocals. As for the set Snuff’s potential ‘hit’ single ‘Male Supremacy’ got an airing, along with other recognisable tracks from other recent albums. Late in the set the stage antics descended into a ‘celebration’ of the male gut with both members suggestively rubbing their middle girth. Clearly playing off a perspective of ‘pitch black humour’, the sonic approach and vocal barrage were nevertheless presented with complete seriousness and dedication to their sonic craft, which showed in quality, aggression and volume of the set, meaning I left the first night of the festival happy having been suitable brutalized by punishing power electronics and industrial noise filth.s1 s2 s3 s4 s5 s6


With Pasi and Pekka effectively closing the Friday night, both returning to open Saturday night, yet this time it was Pekka’s main project being featured with further live assistance being provided by Pasi. Although of the industrial noise/ rough Finnish power electronics slant, the mood and tone was of a more desperate and mournful style, particularly provided by the anguished, but clearly enunciated spoken presentation of Pekka’s vocals (…delivered while stalked back and forth across the stage). Given that much of PE type vocals are lost in the distortion and delivery, here there lyrics could have perhaps been more fully audible if they were elevated in the mix, which seemed a missed opportunity. As for the stage setup this involved Pekka manipulating his side table of equipment and providing vocals while further backing noise manipulation assistance came from Pasi’s further table of noise equipment and bass guitar providing atonal low end sonic input. All in all a strong, enjoyable but quite short set, which had me wishing it were longer.

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Soldnergeist were meant to follow and although not necessarily an act I am obsessive about, I was at least looking forward to seeing this German power electronics project in a live setting (…as were many others I chatted with). However this was simply not to be, as Soldernergeist did not show up to the festival and without explanation being provided. When later speaking with head promoter Eric the reason for their absence was unknown and remains unknown and unexplained at this point in time.


The UK project Satori were the next act to follow and although featuring a revolving lineup (and in the later era with no original members), in 2014 an original member Dave Kirby took over the name again as a solo project, which is who performed here. Although pushing towards a dark ambient sound in terms of execution and sonic clarity, the sound was also far heavier and driving that typical dark ambient fare, given the equal focus on a heavy electronics and industrial slant. With Dave behind a low table with laptop and effects units he had a high degree of stage presence, and with the music presented being manipulated to be in sync with a specific backing video. As such the generated rolling, heaving and constantly evolving vortex of sound made it was virtually impossible to become fully impressed in the set and for me was another highlight of the festival.satori1 satori2


AIT! followed, being an Italian project of Tairy Ceron who is perhaps more recognised as his earlier project …Today, I’m Dead which was associated with Marco Corbelli’s Slaughter Productions. For his performance in consisted of mournfully toned industrial/ dark ambient/ drone soundscapes with apathetic spoken styled vocals, where Tairy was stationed at the back of the stage and being only barely visible due to the video backdrop and strategically placed curtain screens (…in addition to a bizarre garden flower arrangements placed at the front of the stage). Although being sonically acceptable, it appeared that the performance involved live vocals to backing tracks being played from a sole laptop. Given there were clear breaks of silence between tracks (and making to appear if Tairy was just queuing the next track), it tended to break the mood of the performance and made it less engaging that it could have otherwise been, which resulted in me opting out of the later half of the set to catch up with various people.ait1 ait2


Moving on to Saturday night’s headliner Genocide Organ, after so many years of wanting to see the group in a live setting, there was a worry on my part of potential personal hype leading to disappointment – yet any such concerns were in the end completely unfounded as they group demonstrated they are simply in a league of their own. Also noting that Genocide Organ grace the stage infrequently and are known for preparing and presenting ‘stand-alone’ live performances which are not repeated, and in this context the attendees at TTVI were treated to a specific performance centred around the new album ‘Obituary of the Americas’ (reviewed here). Sonically the performance was perfectly loud and forceful (‘chest rumblingly’ loud in fact), allowing the live renditions of album tracks to be clearly followed (…which also included the various dialogue samples used on the album). Apart from the opening and closing pieces material was drawn almost exclusively from ‘Obituary of the Americas’, where the final aggressive rendition of ‘Vive La Guerre’ (previously only known from the 2007 expanded re-release of ‘Remember’), which with it mercenary focus conceptually aligned with the balance of the presented set.

With a sole member at the back of the stage (Doc M.Riot? …not absolutely sure), flanked by a backing video projection, the introductory track provided a sonic backdrop of a rain soaked jungle with helicopters circling low overhead, before the remaining 3 members (Wilhelm Herich, Brigant Moloch & D.A.X.) marched through the crowd and joined the stage, being also accompanied by a further two ‘commandos’. With all members wearing camouflage face covering and some with brimmed jungle bush hats, interestingly this new stage attire was noted to specifically reference the cover image of the CD version of ‘Obituary of the Americas’, and functioned to illustrate the depth of thought which the group put into the presentation of their themes. In addition to the headwear, all members were clad in camouflage trousers and Genocide Organ branded ‘Por Una Vida Libre / Grupos de Autodefensa’ t-shirts, which based on later investigation were noted to be specific replicas of the design of the Mexican ‘Policia Comunitaria / Autodefensa’ group/s (aka Community Police / self-defender group/s). Once on stage both vocalists Wilhelm Herich and Brigant Moloch stood front and centre, menacingly brandished machetes as well as using them as specific implements to generate further noise when being symbolically ‘sharpened’ on the edge of a contact mic’ed oil barrel.

The lengthy opening section demonstrated further dedication to thematic cause, given the vocals were exclusively presented in Spanish and as if being a proclamation/ sermon from a South American Jungle Militia leader, and continued within the first recognisable album ‘Autodefensa’ which sonically hit hard. To speak further of the vocals, the impassioned delivery of Wilhelm Herrich on ‘Formacion de Guerilla’ were another specific highlight, as were the imposing shared vocal approach on ‘Todo por la Patria’ and ‘Escuela de las Americas’, with the later being coupled with specific hand gestures to reflect lyrics of: “your mind is in our hands: our hands are in your mind”. As the momentum and elevating heaviness of set progressed the perhaps now obligatory aggressive shoving match at the front of stage broke out. But noting also the controlled aggression of the new album, the unhinged nature and more direct aggression of ‘Vive La Guerre’ was a perfect way to conclude the performance, with no encores to be contemplated or provided, despite the vigour of the crowd reaction.

The focus of the group in their presentation of specific theme within a live setting was further demonstrated when early in the set the two assisting ‘commandos’ were instructed to hand out white versions of the ‘Por Una Vida Libre / Grupos de Autodefensa’ t-shirts to select members of the audience, where interestingly this very action threatened to pull focus away from stage as there were minor scuffles as audience members attempted to procure one of these ‘exclusive’ Genocide Organ rarities. However for those who did receive a t-shirt, they were instructed to put in on immediately so as to show faith to the cause, but were then specifically targeted later in the set by Brigant Moloch when he entered the crowd to apply camouflage face paint to such marked audience members. When noting such attention to detail of how the music and themes presented on stage, conceptually it was extremely strong and perfectly executed and far from being a mere live rendition of new album tracks.

By way of an observation regarding stage performance and aggression, it is widely recognized that the group demonstrated an extremely violent and visceral approach on stage in their earlier days; where this early phase of the project is documented on the Heavy Electronics: Two Days of Agony VHS (a live recording made at the 1993 Heavy Electronics festival where the project performed). What is evidenced on this video stands in stark contrast to what can be witnessed on stage in the current era; where there is a much more reserved and calculated stage performance element; and where the violence and aggression is implied through posture, gesture and imposing stage presence as embodied by Wilhelm Herich and Brigant Moloch. Although some elements of the audience were effectively wanting to see the group of yesteryear, to my mind this is completely missing the point of how the project have evolved their sound and thematic approach over the last 2 decades, where the Genocide Organ of today absolutely demands focus and attention based on the strength of their stage presence.

Another observation to be made of the performance followed on from a conversation with Klaus (Wilhelm Herich) after the show, where it was confirmed that and the total live performance concept was intended to be delivered at Tower Transmission V last year, (i.e. prior to the actual release of “Obituary of the Americas’), and at the time would have been the first time anyone heard the new material from the group. Despite this scenario not eventuating, it perhaps allowed the majority of the audience to be well acquainted with the new album, where for me the TTVI performance functioned to reinforce how strong the themes underpinning ‘Obituary of the Americas’ are.

The only this left to say is that having waited for many years to see Genocide Organ live, with their total commitment it resulted in an amazing performance which will be etched in my memory for a long time to come.g12g1 g2 g3 g4 g5 g6 g7 g8 g9 g10 go13


Noting the totality of Genocide Organ’s performance it must have been a potentially daunting task for Einleitungszeit to follow and to effectively close the festival. Yet this in the end was not an issue at all, given they completely embodied and owned their own unique approach. Although another project I have not extensively followed, Einleitungszeit are a Slovak-Czech ‘power industrial noise band’ which presents a sort of ‘industrial theatre’ type approach (…and which even including a ‘chorus line’ bow at the end of the show). With the 5 members utilising a wide variety of stage costumes (including body paint, gas masks, radiation suits, cyborg face-masks etc.), a clear impression was provided of a post apocalyptic/ nuclear fallout type theme, which itself is reflective of the country of origin and that key original members would have grown up during the cold war era. Further stage antics included aggressive dual male/ female vocals, fire breathing (i.e. directly in the faces of the front row audience), and sprayed arcs of metallic sparks generated from sheet metal and angle grinder abuse. Sonically it was partially rhythmic and totally chaotic with its wild industrial/ noise/ junk metal abuse approach, where the over the top nature of both costumes and performance meant it was an extremely engaging show. Straddling a playful and bizarre yet equally serious approach, it was all very entertaining and in the process allayed any concern of how a project could possibly following Genocide Organ, given the project completely owned their own unique approach.e4e2e1e8e3e9 e6 e5


Returning to Tower Transmissions for a second year running was again a pleasure, and thankfully the niggling sound issues at the 2015 event were completely rectified this year, with all acts sounding excellent (…both in terms of clarity and volume). The organisers of Tower Transmissions should again be commended for pulling together an excellent festival lineup, and while not all acts were necessarily to my personal liking that is also missing the point. Clearly the organisers have sought to pull tougher a diverse roster of acts from the various genre corners of the broader post-industrial underground, which also provides opportunity for newcomers, current projects and long standing acts to share the stage. From this perspective Tower Transmission VI was another total success and personally provided more than ample performances that were specifically targeted my music tastes and interests. The festival providing an opportunity to chat with various friends and long-term contacts in person, which such opportunities for me are few and far in-between. Until next time? We shall see.


More Neuro Azzolut photos from all acts available: here