XXII WROCŁAW INDUSTRIAL FESTIVAL

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.

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.

Started DJing and promoting clubs and concerts in 1995. For over 20 years Eric has been integral to organising some of the most important underground clubs and concerts in Dublin namely The Tower and Finisterre. Concerts that have been promoted under the Tower Promotions banner: New Model Army, Front 242, Boyd Rice/NON, Sol Invictus, Blood Axis, Dive, The Levellers, Whitehouse, Job Karma, Der Blutharsch, Nosferatu, London After Midnight, Vendemmian, Spahn Ranch, Sieben, This Burning Effigy, Bain Wolfkind, Faith and the Muse etc. etc...
Eric has DJ'd at many international events and clubs: Schlagstrom festival, Wave Gotik Treffen Festival, Whitby Gothic Weekend, Duncker, Slimelight, Blutenrausch, Resurrection club, Semi resident DJ for Wroclaw Industrial Festival.
Eric is now based in Dresden, Germany and co organises the annual Tower Transmissions festival. In the last 6 years the festival has grown into one of the most respected festival in the Industrial field. Bands that have played at TT include Genocide Organ, Club Moral, Sutcliffe Jugend, Grunt, Consumer Electronics, IRM, Thorofon, Ramleh, Nordvargr, The New Blockaders, Nikolas Schreck, Bizarre Uproar, Brighter Death Now, and many many more.

Lena had the chance to play for a wide audience for the first time in 2018 at the DOM club in Łódź. Over the course of five years, she has played in several clubs and events in Poland and alongside such artists as Ayarcana, Qual, Unhuman and Rosa Anschütz. For more than a year she has been also running the broadcast "Industrial Blast" on Radio Kapitał, where she record sets with all diverse electronic genres she enjoy. On her sets Lena plays dark and raw sounds. She is mostly fascinated by the music of the 80’s/90’s connected to the classic sounds of EBM, electro and techno mixing it with industrial music and sounds inspired by coldwave.

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.

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.  

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.

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.

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)

“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.

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...

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.