XXII Wrocław Industrial Festival

Side project of Sebastian Harmazy / VILGOĆ.  ]]]][[[[ – music of vibrations extracted from urban space, acting on the border of human audibility.

CITIZEN is the language of the city translated into a raw signal, noise confrontation with the deformation of dub elements. This one-man creation characterizes the skilful balancing of silence and juxtaposing wall of sound, creating structures corresponding to unrest, agglomerations and human anthills in an increasingly chaotic, self-destructive reality. Atonality and primitive forms of industrial, enriched with collages and original video attacks. An aesthetic mismatch for noise purists as well as for dub epigones, a conscious exclusion. CITIZEN is associated with the UBOCZE label.

Cult of Youth began as a bedroom project in 2006 when founder sean ragon took a broken acoustic guitar, a $20 mackie mixer, and a roland rack synth and tried to recreate the atmosphere of the post-industrial and neo folk records he had been obsessed with since childhood. the project eventually evolved into a fully fledged band and for the better part of a decade released a string of genre-bending albums that made perfect sense to some people and absolutely no sense to others. in 2015, after years of relentless touring, the band packed up a studio’s worth of equipment and drove up to the mountains in vermont with no plan, no songs, and enough psychedelics to brainwash an entire state. by day two they had cleared out a derelict barn and built an entire studio running off a gas powered generator rented from the local hardware store. that studio included a wall of gongs, a 9’ marimba, a weapons grade arsenal of analog synthesizers, a 24 channel mixing console, and a full blown PA system and not to mention some truly unusual instruments ranging from a human thigh bone and a champagne cork! over the following weeks they lived completely off the grid, spending most of their time doing farm chores, shooting guns, hiking, and recording with a clandestine cast of collaborators. every harebrained idea that passed through their minds was exercised – nothing was off the table.

sound as communication in direct and primal form, a language, a tool of metaphysics, a conscience and a consciousness, vibration. dp re/searches and ponders existences and behaviourisms humanimalistically. works that oppose the omnipresent restriction and reduction of life and living, that activate primordial shared emotions otherwise hidden under the debris of civilisation, inviting rumination, encouraging intervention, endorsing catharsis, liberating, cleansing. therapeutical stimulation is acknowledged.

sonic activism, ritual protest music, humanimalism.
dp might touch topics such as sentient perception and awareness, environmental sensitisation, existentialism and existential e/quality, but it’s also how these and related topics interconnect that interests, the hyperconnectivity some call chaos.

dp rings in the era of humanimal.
methods are audio de/construction, composition, sonic rituals, psycho-acoustics and performance. tools are voice, body, field recordings, electronics, objects, video.

solo works as dave phillips/dp since 1987. part of schimpfluch-gruppe since 1991 (with rudolf eb.er/runzelstirn & gurgelstøck, joke lanz/sudden infant etc.). co-founder of ohne in 2000 (with tom smith, daniel löwenbrück, reto mäder), one-man-doom-metal-project dead peni since 2004, the perverts in white shirts duo since 2012. co-founder of fear of god in 1987 and has played in numerous other bands, projects and collaborations. born 1969 in switzerland.

dp has been sonically active for 38+ years, has appeared on over 250 releases and has played over 700 concerts in 50+ countries.

keywords: ritual protest music, sonic activism, humanimalism. composition, sound art, psycho-acoustics, experimental noise, musique concrète, performance. voice, body, microphones, objects, electronics, field recordings, video.

Lina Baby Doll, is the man that sustain the heavy structure behind Deutsch Nepal. A legend in the scene of industrialism, avant-garde, music and art in general. He is capable to re-create and re-design old school industrial and electronica, taking elements from apparently dissimilar concepts such as Dadaism and Tribalism, or “contradictory” ideas such as Heathenry and Christianity and converge them into a typical cocktail blend that characterises a unique and now famous style. Manic rhythmic redundancies, strange indefinable samplers, metallic sounds, distorted guitar chords are common elements found in all his works. His main goal?. Mesmerize the listener to subjugate the mind and put the spirit into reverberation mode.

It is difficult to reduce his works to a simple description. All of them seem to be the evolution of an early idea, a baby that grows old, getting monstrous and divine while doing so. The music itself is a never ending universal paradox in where beats and rhythms have a primary role. Deutsch Nepal is surreal landscapes strongly conducted and cut through with the violent and precise pounding of the repetitive aspect of percussion. It’s a black and white obsession, changing shapes and tonality.

FM Einheit (Mufti) is an industrial and electronic musician and actor, primarily known for his percussion and compositional work with Einstürzende Neubauten, notably on the classic albums: “Kollaps”, “Halber Mensch”, “Haus Der Luege”, “Tabula Rasa” and “Ende Neu”. He played the lead role in the 1984 feature film Klaus Maeck’s “Decoder”. He has also collaborated with musicians such as: Diamanda Galás, Eraldo Bernocchi, Mona Mur, KMFDM, Goethes Erben and many more.

GRIM has been active since 1985 and continues to present works and live performances in Japan , Eurozone, United states etc.
One-man industrial/power electronics/noise project. In the early 80s Jun formed White Hospital together with Tomasada Kuwahara. They released one album called “Holocaust” in 1984 before disbanding. Kuwuhara moved on to Vasilisk, while Jun released a number of solo records as Grim .
This WIF live will be a GRIM ritual by Jun Konagaya alone.

Hackedepicciotto are Alexander Hacke and Danielle de Picciotto. Both are legends of their own making: Danielle de Picciotto moved to Berlin in 1987, to become the lead singer of the band „Space Cowboys“, the co-initiator of the Love Parade, a collaborator of the Ocean Club with Gudrun Gut, and Alexander’s partner in crime. Alexander Hacke is founding member and bass player of Einstürzende Neubauten. The artist couple, romantically married in 2006, has creatively interacted with countless international projects for almost 2 decades now besides regularly releasing their own compositions.
Their live shows are, to put it mildly, intense. Danielle specializes in unusual instruments such as the Hurdy Gurdy, the auto harp and the cemence besides playing the violin and piano; Alexander is master of the bass, guitar and drums. Together they create beautiful, existentialistic, acoustic soundscapes, which roar and vibrate simultaneously leaving their audiences shaken but overjoyed.

Danielle, author of two books, writes most of their lyrics, be it the poetic spoken word moments or the momentous choirs they compose together. Alexander Hacke, an excellent throat singer and vocalist, growls his grnarly, rumbling cries that float eerily over their nomadic desert drones, with screeching birds, bees or wild wind accompanying slow, heavy riffs that start as a whisper and end in a volcanic, rolling wave of apocalyptic frenzy. The collage of this mixed with melancholic, translucent harmonies, very heavy & low bass chords, and electronics are a mesmerizing universe of sound and emotion which has generated an ever growing group of enthusiastic listeners.

Harmony of Struggle is a Polish power electronics project created in 2020 by Neithan (Whalesong, Grave of Love, Lugola). HoS compositions can be described as hypnotic and extremely deformed with various effects industrial tracks. The main lyrical themes are: war, control, domination, manipulation.
FFO: Anenzephalia, Genocide Organ

Dark ambient/Avant Noise act helmed by producer/designer puppy38 since 1997. Originally formed in Austin, Texas as a trio, consisting of Puppy38, artist Claire Richards and programmer Aaron DuBois, Hiroshimabend is currently based in Vienna, Austria. Aside from various collaborators, such as Zoe Dewitt (Zero Kama, Nekrophile Rekords), Michal Turowski (Mazut) and other guest artists, the only other primary member is Austin, Texas-based guitarist and multi-instrumentalist Evaristo Castillo, who has appeared on many releases, including the epic “xPOL” (an almost three -hour longform work), the award-winning “Rednow Gnir”, and a majority of the “Pain Bells” box set, which is a series of all-new original works spaced over the course of 11 CDs.

Listening to the music of hiroshimabend has been likened to swimming in a milky lake of black ink. The scope of sound genres includes Industrial, Post-Industrial, Sound Collage, Broken Beat, Drone, Experimental Electronic, Glitch, Minimal Techno, IDM, Musique Concrète, Noise, Field Recordings, Harsh Noise Wall and Power Electronics,

Hiroshimabend has performed many solo and headlining shows, and has opened for artists such as The Legendary Pink Dots, Skinny Puppy, Becoming /// Animal (side project of Cindytalk’s Cindy Sharp), Thighpaul Sandra (Coil), Job Karma, Fetisch Park, and Farbfelde (aka Codex Empire). In Nov 2016, Hiroshimabend played the 15th annual Wroclaw Industrial Festival in Wroclaw, Poland…sharing the bill with such luminaries as DAF, Psychic TV, Asmus Tietchens, Main, Ramleh, Reutoff, Monoton, and many more.

With over 35 studio albums, several live recordings albums – released primarily by the independent label Opiumdenpluto –  and appearances on compilations by Fourth Dimension Records and Drone Records, the combination of found sounds, field recordings, industrial rhythms, lingering drones, dark and unsettling ambient soundscapes, plus experimental noises are elements making up the project’s aural offerings. Hiroshimabend is not only an atmospheric, sonic experience, it is often psychosomatic, giving rise to a variety of associations that refer to deep layers of the subconscious. It’s the kind of music which has the ability to mesmerising the listener with a whole range of effects, rich structures and multiple layers of sound. It is not simply plain ambient, nor is it ordinary noise music – Hiroshimabend’s pieces deliver both industrial-like rebelliousness and peculiar beauty alike.

Orphx have been creating their unique fusion of rhythm and noise for almost thirty years, combining the propulsion of techno with the experimental techniques and critical themes of industrial music. They have been working across different genres and music scenes over the last three decades, moving from audio/visual noisescapes in local clubs and art galleries during the 90s to shoestring tours across Europe and on to the last decade of performances at techno clubs, festivals, and underground events around the world.

The project was founded in 1993 by Rich Oddie, Christina Sealey, and Aron West, who began creating improvised performances inspired by early industrial music and new waves of noise from Europe and Japan. Following cassette releases on their own Xcreteria label, West departed to focus on the noise project Tropism while Oddie and Sealey began to push Orphx in a more rhythmic direction. Their distinctive sound used powerful layered rhythms, modulating soundscapes, and processed vocals and samples to explore themes of personal struggle and social control. Over the last few years this early work has been documented by releases on Hospital Productions, Mannequin Records, and Oddie’s own Ekstasis label. By the late 90s, Orphx was drawing inspiration from the more experimental fringes of techno, electro, and dub. The project became Oddie’s solo studio effort but live performances continued to be collaborative. Working closely with Germany’s Hands Productions label, the duo gained an international following as one of the pioneering acts within the European “rhythmic noise” scene. Over the last decade, Oddie and Sealey have again collaborated on both live performances and studio recordings as their work connected with both techno and industrial audiences through a series of acclaimed releases on the Sonic Groove label and remix work for a wide variety of artists, including Front Line Assembly, Oscar Mulero, Nomeansno, Perc, and Conrad Schnitzler.

Orphx have refined their sound across numerous releases and many changes in tools and techniques: from reel to reel tape machines and homemade instruments to software sequencing and processing, and moving back again to hardware following Sealey’s adoption of modular synthesizers in 2008. Oddie and Sealey are renowned for delivering improvised live performances that combine modular synth, drum machines, software, and live vocals. They have toured throughout Europe, North America, Japan, and China, appearing at international festivals such as Berlin Atonal, Forte, Katharsis, Labyrinth, Mutek, Rural, Voltage, and Unsound, and regularly performing at techno temples such as Berghain, Tresor, and Khidi. Their work has been featured in film soundtracks and documentaries, including I Dream of Wires (2014) on the resurgence of modular synths and Soundtrack for the Urban Decay (2015) on the history of industrial music. In recent years, they have been working on new audio / visual performances using infrasound and multi-channel speaker systems, working in collaboration with video artist Patrick Trudeau and McMaster University’s Institute for Music and the Mind. Active collaborations and side projects include Eschaton (Orphx + Ancient Methods), Ontario Hospital (Rich Oddie + Huren), Orphx + JK Flesh (Justin Broadrick), and Oureboros (Rich Oddie + Aron West).

Puce Mary is the solo moniker of Danish-born artist Frederikke Hoffmeier. With a long career in experimental electronic music – Puce Mary has a reputation for intense live performances that span from gripping renditions of cinematic composition to the full-on fury of off-the-cuff harsh noise.
Oft-identified with the now-generation of industrial noise, the project’s recent endeavours explores the field of sound more broadly than before, unfurling a complex sonic and literary narrative of tension and release, amidst disquieting dynamics and surreal cinematics. With countless releases (most recently on PAN) performances and collaborationswith artists such as Drew McDowall, Varg2TM, Kali Malone and Stephen O’Malley, Puce Mary has reached wide acclaim for her powerful and unique blend of modern experimental electronic and noise music.

“SARDH” was founded as an experimental sound-image collective, after they had already been “painting” with sounds in loose formation in the Dresden experimental scene since the early 1980s. Since then, the “Mother of Saxon Ritual Music” (R. Dittmann, Bad Alchemy) has been organizing thematic performances, its own exhibitions and sound installations, sound field research, concerts, festival contributions, self-produced multimedia environments, and has published sound carriers, artifacts and videos, mainly in its own publishing house. For 17 years, “SARDH” has also been running the sound laboratory “Morphonic Lab”, which is now well established in Dresden.

In the 1990s, “SARDH”, which always strives for a concrete spatial reference, developed a system of variable instrumentation with flexible use of installation and media possibilities, which they set up according to the situation. Self-built objects or objects of everyday use converted into sound bodies shape the sound image.

Their own melange of ambient, noise, industrial, sound collages and muzak is based on a strictly defined dramaturgy as well as on intuitive arcs of tension that they develop in a collective process. Through their opulent instrumentation, “SARDH” create brute sound images that merge with their bizarre video scenarios or special lighting arrangements in the background.

SECT7 under this name comes a new hardware project of Kat – audio visual girl artist from Lodz, Poland.
It comes as sum of long standing sound explorations and numerous experiments with noise, rhythm and hard beat.  Its results emerge now as an radical blazing music and visual assault. The sources of SECT7 input varies from the legacy of Zoth Ommog, New Zone to the classics from Wax Trax. A touch of classic EBM and electro industrial is to feel and to hear. From Leaether Strip to Bigod 20 and Nitzer Ebb. From Front 242 to Front Line Assembly and all in between. These influences correlate with modern waves of mechanic techno from the likes of Sonic Groove, Hands or Bite Records.
Obsessiveness (released on Zoharum Records) is the first full length release of SECT7 accompanying by a cassette Subliminal Stimuli  filled with the remixes by polish supreme rhythm industrial acts Larmo and Egoist.
Nowadays SECT7 is going even further in augmentation of inner sonic passion. Frequent signals, numerous samples are marking a full spectrum of interests: suspense movies, film noir, cinema giallo. All transferred into pounding beats, blast and overload. Confusion, growing oppressive climate, obsessions, manias, vexatious relations of soma and psyche resonate in the serial repetitive beat attack on all senses. No way out, extreme tension, fear, impossibility of any escape – these emotions are imminent. The listener is confronted by a blatant merciless techno industrial assault. SECT7 appears as a charged mass of sound reflecting the today’s world constant disorder. (WS)

Te/DIS stands for “Tempted Dissident”. Behind it is a solo artist from Germany who dedicates himself to electronic music. This has a Angst-Pop basis and is kept clear and efficient and precisely structured with hard, sometimes monolithic rhythms. It is also carried by a voice that shows an emotional or sometimes rough post-punk aesthetic. The voice is also what gives the music of Te/DIS the soul and ensures a high recognition value. In terms of content, a profound cynicism is cultivated and a gloomy abyss is represented. The cool and structured soundscape frames the immanent, inner tension as well as intense emotions. Te/DIS has so far released three albums and an e.p. on the german cult-label Galakthorrö.

“Templer is the solo project of Thomas Chalandon. Half of the duos Imperial Black Unit and ATT Corp. With his most personal project released on labels such as Hands, X-IMG
and Phage Tapes. He aims to deliver Rhythm’n Noise infused harsh techno tracks. Slow and blistering sounds using a mix of nowadays instruments and old school industrial
methods. After his last album Myths & Consequences (remixed by Esplendor Geometrico, Test Dept, Orphx, Geistform and Harsh Mentor) he played in events such as Forms of Hands,
MUK.E, Wave Gotik Trefen, Hands label night, Rorshar and Tresor.

THAT’S HOW I FIGHT [Psychedelic / Space / Experimental] They debuted in 2021 with the album “Movement One” for Requiem Records. Although they have only been active as a band under this banner for a short time, the musicians behind it have a lot of experience on the music scene; they have previously been associated with activities in groups such as Rigor Mortiss, Titanic Sea Moon and Rongwrong or Ewa Braun. Initially, they limited their activity to studio work only. However, in January of this year, they played their first concert on the smallest stage in Poland as part of the “Zawieje” event, opening another chapter in the band. After a well-received debut on Requiem Records label and a cassette and digital EP (“Between Movements”) their second regular album THAT’S HOW I FIGHT came out in April. “Movement Two” picks up where the previous session left off. Along the way, the band expanded its lineup and merged into a single organism during numerous sessions to embed improvisation even more boldly as the main building block on which their music is based. Using their existing instrumentation, expanded to include samplers, synthesizers, and accordion, among others, and taking advantage of their numerous sonic qualities,the musicians managed to record compositions, somewhat ethereal and ethereal in nature, yet deeply memorable to listeners. Everything here has been refined to the smallest detail, so that eventhe tiniest sound gently filling the space seems to be an equally important part of the larger whole.The key building block from which this monolith is woven is the characteristic sound, giving thewhole a final touch, imprinted in rich yet ascetic forms. All this makes their live performances, supported by numerous improvised phrases, capable of delighting even more…. “Movement Two” and the performances promoting it are an invitation

The Rorschach Garden was founded by Philipp Münch in late 1987 to serve as a host for his evolving musical ideas not focused on a certain style in the early years. This changed when Münch stared to play in bands like ARS MORIENDI and later SYNAPSCAPE. Experimental and noisy ideas were fed into these projects, so that the more melodic side remained.

During the 90ies TRG was deeply involved into the tape scene and the music slowly evolved into the thing it is now, best described as ‚Minimal Synth Pop Music‘

In the early 2000s TRG joined Ant-Zen via the sidekick label Bazooka-Joe where he made several 7“es and a bunch of CD albums. With Ant-Zens Reorganisation, TRG became a direct ant-zen member. Beside of this he’s also releasing digitally on band camp, mostly re- releases of old tapes but also new music.

On stage Münch is accompanied by his splendid groove box called his ‚robot band‘. He plays a selection of modern and classic tunes to bring you the bittersweet pleasure of his unique kind of music.

Sacral images intertwining with modern civilization falling into the bowels of infinity. The gap between the level of silence and the deep darkness, reflecting into the subconscious the signals of uncertainty and destruction. Beautiful and cold at the same time. Industrial marches in the supernatural suit of anvils and resonance.Atmospheric colossus of a member of dISHARMONY and his apocalyptic visions…

Vonsechsundachtzig is a duo based in Lodz that creates extreme electronic music. Inspired by classic industrial music and power electronics.

Zero Kama, the musical solo project of Zoe Dewitt, has become famous in the 1980s with “The Secret Eye of L.A.Y.L.A.H.”, an occult concept album recorded exclusively with instruments made from human bones and skulls. From 2015 Zoe prepared for a relaunch of Zero Kama, and in 2022, after almost 40 years of silence, celebrated their comeback at a New York City noise festival. The concept of this new manifestation of Zero Kama still remains strictly defined: Zoe uses for her music exclusively samples from the 1984 recordings of “The Secret Eye of L.A.Y.L.A.H.”, thus maintaining the essential Zero Kama sound which is now processed by modular synthesis. While the rhythms of skull drums are boosted to fast techno beats and the buzz of a bone oboe is transformed into acid-like basslines, more or less recognizable tunes of old Zero Kama tracks alternate with new decompositions of a rather harsh and experimental nature. Live visuals generated by video synthesis complete Zero Kama’s evocation of a multi-layered magical universe that draws from the dark realms of the underworld and emanates in strange atavisms and libidinous obsessions of a self-pleasuring ego that realizes itself in the endless diversity of existence.