Genocide Organ: 2003 Profile

Genocide Organ Profile: 2003

Originally intended to be published Spectrum Magazine Issue 6# which was cancelled before publication

Eventually published in Degenerate Magazine (Finland) Issue 3# 2003

Genocide Organ have been in existence for over 17 years now, slowly but surely rising to a cult level within the heavy industrial/ power electronics scene.  This status has been achieved through the production of an extremely physical sound approach in combination with delux packaging, creating a collectors fetishism of sorts.  Yet for all their notoriety within the post-industrial scene, Genocide Organ remains relatively obscure and somewhat shrouded in mystery.  This is in part to do with the group refraining from including ‘band’ photos on releases, yet more specifically (on the most part) refusing to conduct interviews.  Personally I am only aware of one interview, being that which was published in 1999 in Descent Magazine Issue 5#, and even the introductory blurb to that interview stated the group had requested the interview to be removed (without success of course).

So, when considering the members of Genocide Organ, their actual personalities remain obscured for the above mentioned reasons, yet one fact remains certain, that the group contains four key members: Wilhelm Herich, R. Freisler, D.A.X & Doc M Riot (presumably all assumed identities), with R.Freisler later leaving the band to be replaced by B.Moloch (of Anenzephalia infamy).  Notwithstanding the obscured identities, one member has become more recognizable then the remaining, being one Herr Wilhelm Herich), due to his collaborations with Anenzephalia and Der Blutharsch for the delivery of a number of live actions.

As a collective each of the four members has specific roles within the Genocide Organ collective, relating to studio composition, live mixing, video arts & stage performance.  With regard to live actions they encompass a direct physical approach of noisescapes and confrontational vocals that also often incorporates installations ranging from video projections through to emblematic use of religious symbols and images political figureheads (ie: burning of a wooden/ chainmesh cross, use of a oxy torch to cut the genocide organ symbol from a sheet of steel, display and later destruction of crosses plastered with images of political leaders etc).

In analyzing and critiquing Genocide Organ’s recorded output via lyrics, texts images and dialogue samples, there is a clear focus on matters relating to war, the Ku Klux Klan, conspiracy theories, American imperialism, terrorism, the Third Reich, fetishism etc.  Likewise many of their releases come armed with loaded titles such as ‘Klan Kountry’, ‘Mind Control’ and ‘The Truth Will Make You Free’.  Packing additionally utilises many images that are considered to have loaded connotations, or otherwise by virtue of their use seem to inherit a deeper meaning (for example take the face image on the cover of ‘The Truth Will Make You Free’). To put it in another context I quote Lina Baby Doll of Deutsch Nepal who has been a long standing fan and more recent comrade of the group:

“Genocide Organ, the heroes of German electronic chock-treatment are one of the most physical appearances within industrial culture. Every piece of sound they’ve released, and all live performances I ever experienced have been 100% “ultra” in all directions possible. Just to feel the weight of the heavy vinyl, study the sleeves and almost cut your hands open by the scalpels attached, among the dried bloodstains on the unpolished surface is an experience worth the long and hard search for the items.  For me it’s not the extreme approach of the group that make them interesting, it’s the ability to withhold the possibility to go way to far out in the wasteland of cheap fetish commercialism, which for me is a sign of both intelligence and style. These are people who have got more to show than a poor tattoo and some piercings, this group shows you the truth whatever it might be. And the truth will make us free!”

Essentially the convergence of elements (visuals, titles, text, dialogue samples, set to extreme electronic sound and overlaid with shouted distorted vocals delivery), creates a sensory overload ensuring that ambivalence towards their releases is almost impossible.  And within such a context Genocide Organ HAVE provoked reaction from listeners – be those extremists who perceive the group have certain sympathies that align with their own, or vocal detractors labeling the group racist, fascist, or more crudely – hate mongers.  Likewise for those listeners intelligent enough (or otherwise uninterested) in making such simplistic and polarized views of Genocide Organ, merely the extremity of sound can likewise provoke reactions from revulsion through to pure pleasure (the pleasures received in pain is an amply reasonable adage here).  Yet in creating a reaction and/or emotional response, can art legitimately use the interpretation of politics as the point of stimuli?  I would argue that it is entirely legitimate.  Granted that differing emotional responses may create a psychological barrier and therefore limiting the ability of many to fully appreciate certain kinds of musical and artistic expression, this however does in no way negate the validity of the interpretation of politics within art.  Additionally if art is deemed to be the pinnacle of emotional expression, this still leaves scope for each individual to interpret each emotion intrinsically stimulated – be that positive or negative.

But what do Genocide Organ actually stand for and represent? Do they stand for something, or nothing at all? Are they a group simply taking a mirror to modern society, reflecting the squalled depths of hatred and violence that humanity is capable of sinking to, or do they truly embrace a nihilistic worldview and only stand to accelerate the modern world’s decline?  Alternately are they left wing, or right wing, religious or apolitical?  Or are they simply purveyors of  “ultra” dry humor and irony pushed to an absolute extreme?  Put any of these assertions to the groups however, none will be forthcoming with affirming or denying such theories and/ or allegations.  The virtues of silence perhaps? Equally, are the questions raised in the listener’s mind significantly more important than any answer that the group could ever provide?

Likewise with reference to modern society are there any political or philosophical ideas which can be viewed in a simplistic black and white context?  Consequently could it be said that Genocide Organ embrace the infinitesimal shades of interpretative grey in the way they choose to operate?  Quoting from the aforementioned Descent interview it might just give some insight into the mindset of the group (or failing that, simply adding to the confusion): “We never say what we think, and we never believe what we say, and if we tell the truth by accident, we hide it under so many lies that it is difficult to find out” & ”Everything is as it is and nothing is as it should be”.  (Descent Volume 5#: The Death Issue June 1999).

It is clear that that there is no single or for that matter simple interpretation that can be said to holistically represent Genocide Organ, and therefore it is useless for anyone but the group themselves to pontificate about knowing the exact answer.  Thus without providing any sort of iron clad theory, could the question be posed: is confusion the real key to Genocide Organ’s intent?  The final interpretation is up to you…..

Richard Stevenson

January, 2003

BANDMEMBERS: W.Herich, D.A.X., Doc M. Riot, B. Moloch

LOCATION: Mannheim/Germany

YEAR PROJECT WAS FORMED: 1985

DISCOGRAPHY

Albums:

‘Leichenlinie’ LP Tesco Organisation 1989

‘Save our Slaves’ LP + 7″ EP Tesco Organisation 1991

‘Mind Control’ LP Tesco Organisation 1995

‘Remember’ 2 x LP Tesco Organisation 1997

‘The Truth Will Make You Free’ LP + CD (contains ‘Leichenlinie’ LP re-released on CD) Tesco Organisation 1999 

7” ep’s

‘A Functional Chapter of Sexual Process’ acetate 7″ EP Gravestyle Records

‘A Case of Orthophedic Fetishism’ acetate 7″ EP Twothousand Maniacs Records

‘Klan Kountry’ 7″ EP White Label

Compilations Appearances

‘Perpetual State of Oracular Dream’ LP Anomalous Records

‘Orhenschmalz’ LP Unclean Productions

‘Project Neue Ordnung’ LP Tesco Organisation

‘Natural Order’ 2 x LP State Art

‘Wenn Alle Bruder Schweigen’ 10″ EP Kapellmeister Records

‘Motop II’ CD IF Records

‘Exploration One’ CD Body and Blood Exploration

‘Stinky Horse Fuckers’ CD Stinky Horse Fuck

‘Heilige Feuer’ CD Der Angriff

‘Sonic Exhibition’ MC NOP Recordings

‘Monochrome Meditators’ MC SSSM

‘Trans‑Actions’ MC

‘Sturmgeweiht’ MC Turbund Sturmwerk

‘Power to Destroy’ 2xMC Lebensborn

‘Heavy Electronics’ 3xMC Tesco Organisation

‘Zyklon‑B’ MC Les Joyaux De La Princesse

‘Sound of Hate Vol. 7 – Germany’ MC Lebensborn

‘Psychic Rally’ MC

‘The Death Posture’ MC 

Videos Appearances (Live Footage)

‘Save Our Slaves’ video Tesco Organisation

‘Macrocephalous Compost I’ video Old Europa Cafe

‘Schmerztherapie 93’ video Steinklang

‘Heavy Electronics’ video Tesco Organisation

‘Deadly Actions’ video Nuit et Brouillard

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