Genocide Organ - :Leichenlinie: 1989/2009

Genocide Organ - :Leichenlinie: 1989/2009, (TESCO - TESCO80) 89%


Over 20 years since the original cassette issue of the most important release of German post-industrial noise and early power electronics - and 10 years after the first digital imprint, TESCO give :Leichenlinie: their distinctive workover. The hard-hitting glossed photographic image of a pile of bodies lying inert, lifeless on the white snow against the backdrop of a pine forest's edge in stark monochrome with a black border and solid white text on a black matt digipak platform represents perfectly the sounds housed within.

The electronic fodder is militant and assertive, grounded by the pounding and disorienting kick drum, leaving its captivating imprint indelibly stamped in our minds. There are warped vocals that hint at something of an appreciation of early proto-black metal, with none of the farce. And with songtitles such as opening invocation 'Ave Satani' this is further evidenced. Other songs such as 'Negros In Sky-Wars' and 'Stalins Orgeln' are monikered in such a way that the band's apparent right wing views come to the fore. I say apparent as the band never gave/give interviews - so forgive me if I'm wrong. Going back to the first track - 'Ave Satani' this is as close to the perfect black metal intro as you could possibly wish for and as the last rites are sounded, you are left firmly in the mood to be terrified. As the opening EVP-style tortured vocals and electronic distortion, coupled with the sort of bass-wobble in more leftfield dubstep today open 'Mind Control' there is nowhere to run - like rabbits caught in a stormtrooper's headlights you can but yield, frozen in awe as the Genocide Organ steamroller reaches hysteric levels of terror.

It is hard to think of a black metal band this terrifying and paradoxically guiltily alluring other than perhaps Abruptum at the peak of their powers. The samples include dictatorial speeches, tortured reminiscences of a special forces agent and each one fits like a white glove into the album's vision. Fifth track and more typically titled (for a power electronics release) 'Come Orgasm' is one of the most noise-drenched affairs, beginnning like a Sewer Election piece and although it builds up more structure than that might suggest, there is a noise aesthetic introduced with this track that is not so prominent elsewhere. The quieter, more sample-led verses such as 'Face Of Horror' are equally important as they give the mood changes neccessary to declare the album the masterpiece it undoubtedly is.

I can give no higher recommendation than to assure you that even now at 17:59 on a friday afternoon in May, I am genuinely unsettled listening to this for the third consecutive time.