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Harvest’s Yield VII: So You Haven’t Grabbed a Copy of “Fight Your Own War” Yet…

Well, today may very well be your lucky day.  Thanks to our friends over at Headpress Publishing, we just so happen to have a copy of Jennifer Wallis‘s excellent power electronics compendium, Fight Your Own War, available to ship to one of our readers free of charge.  As our contributor Thomas Boettner wrote ever so eloquently in his extensive review, “a book focused almost exclusively on the genre can be seen as a nod towards recognition of influence for a style that is frequently both misunderstood and miscategorized as a loose cabal of angry white men. More importantly, this provides an opportunity for legitimization—not necessarily to the wider pop cultural zeitgeist, but at least for those who tend to look down on power electronics as low-brow shock art. By utilizing a diverse array of contributors, editor Jennifer Wallis has compiled a collection of scene reports, regional histories, loose philosophies, and select release reviews, all with the aim of fleshing out the question of power electronics.”

We just want one thing from you:  Tell us who your favorite power electronics artist is, either presently or historically, alive or dead, and why in the comments section below.  And, if you’d be so kind, follow Headpress Publishing on Facebook, and us as well if you haven’t yet.  They’re doing good work.  Don’t cop out and leave a lazy answer:  We’ll be choosing the winner based on the top five answers, then randomly from those five.

  • Egan Budd

    Human Larvae!!

  • Timothy Adams

    Mack from Koufar, Terror Cell Unit, etc – I don’t know too many people in power electronics whose art is the result of their experiences being caught in a literal war zone. And even fewer non-white pe artists who have the balls to fuck with the almost exclusively lily-white audience. But while those things make nice headlines, none of it would mean much if it wasn’t for his level of craftmanship and the complete and total balls-out RAGE that he has. The full-length Koufar release (on LP and now CD) “Lebanon for the Lebanese” is what I consider to be a watershed in the genre. Oh, and props to him and Sam for putting out a TCU release with a photo of the infamous Fred Phelps on the cover. Haven’t even seen a punk band do that yet and that’s a genre that’s supposed to be “dangerous”…

  • Avi Pitchon

    My choice would have to be Drone Lebanon, for several reasons, first of all I love the mix of pure aggression with evocative samples and track titles, secondly I’m a patriot when it comes to music and they are from my homeland (Israel), lastly they seriously deserve more exposure! Thanks

  • Grim Green

    surprise, surprise…Green Army Fraction, which sadly vanished a while ago

  • digital yanni

    I would have to say Brethren. While I firmly disagree with David Rodgers’ politics, it’s the fervor and hard work he puts into all of his releases that really captures me. You can clearly tell that he isn’t using far-right ideas and imagery for pure shock value, which I can’t say about too many others in the power electronics/noise realm… Instead you walk away after listening to a release like “The Chosen” or “Alienated and Radicalized” with a crystal clear idea of what the man is all about. His anger against Jews, liberals, and otherwise “fence sitters” also shines through in the aggression and force of the music itself. Bone crunching noise, strident rhythm, bleak synthscapes, mechanical whines… The sound matches the message.

  • joe

    I would probably say Sutcliffe Jugend. They were one of the originators and after 30 years, they are still at it, still experimenting, and still doing relevant and interesting work.

  • Gustave Mahomet

    Kristian Olsson because duh!!!

  • Brandon O’Blivion

    I’ve gotta say Anenzephalia is my top PE act, the brooding drones penetrating my mind like the panic screams of the Chernobyl nuclear meltdown. Abiding Broadcast Contamination has got to be one of my top tracks ever. Putting on Ephemeral Dawn, back when i was still just getting in to the genre, and going for a cruise, stoned, the music all the way up, and feeling the paranoia going through my mind like a cold war agent deep undercover in Western Europe defined the way that i see the world around me. Soon i would have visions of alien abductions, mind control tactics, deep green lights illuminating the snow covered barren wasteland around me, projecting my thoughts into the vast nameless conspiracy of human existence

  • John Doe

    Whitehouse. Sure, that may be a “lazy answer” to some, but they were my first experimental band I’ve ever heard, and I never went back. I still remember someone adding Wriggle Like a Fucking Eel (7” verison, iirc) at the end of a quiet acoustic album, and how the instant wall of noise out of nowhere and WIlliam’s wailing scared me, puzzled me, and then intrigued me – in that order. After that, I had to come back to the song several times before I finally fell in love with industrial and experimental music for good. It’s funny, most people get into power electronics through the “less aggresive” forms of Industrial, while I guess got the “throw him in the water and see if he learns how to swim” treatment. 🙂

    And if we’re talking specific people, then William Bennett, not only because of the reasons above, but also because he’s an extremely pleasant person with a great mind for music.

  • Jason Ziemniak

    FINAL SOLUTION. After hearing stories from the horse’s mouth about them smoking crack at parties and popping the hood on their Trans-Am that was filled with bloody purses from prostitutes that they robbed- I knew that this was a group that walked the walk and talked the talk.

  • Iahacrax Daedalus

    DEATHPILE: Concubitus cum bestia ajusdem sexus

  • Nick Evans

    I’m not sure if this truly meets criteria because he doesn’t fit neatly into any box, but immediately Kevin Drumm comes to mind as my favorite electronics / noise artist. Probably BECAUSE he can’t be pigeonholed. His entire discography (which I definitely don’t have all of, because how on Earth could you) shows that he is unafraid to set up home in a genre, depart for other horizons, and then return again when he has more to accomplish. His musique concrete releases like Imperial Horizon (2009) or Trouble (2014) are brilliant crafts of stagnation and atmosphere. His early prepared guitar work is some of my favorite of its kind. The same can be said about his incredible long form electronic drone works. Solo harsh / power electronics releases like Sheer Hellish Miasma and Impish Tyrant quite literally shoved him into the spotlight and left him there. He is able to dance in and out of the myriad of genres he works in with masterful precision. His splits and collaborations Aaron Dilloway and Prurient (and Daniel Menche, et al) are undeniable as some of the best in the noise world. So this is essentially a cop out. Only a few of his releases are centered on the rhythmic pulsing of industrial that PE was branched from. There’s no misogyny or shock value racism. Drumm lets his anti-music speak for itself and demolishes most in his field(s) because of it.

  • Mark Lazarus

    Genocide Organ is far beyond the modern ideals of Death Industrial with being an actual unit of men who’s mystery runs about as deep as our curiosity in terms of the listener/audience….’GO’ for well over the last two decades have remained cloaked in a shroud of pulsating synths,over arching samples that take very little to the imagination to register,to a confrontational vocal delivery that executes as much as it excites (in some cases causes fear) and most of all confusion,paranoia and mystery…..As I ask myself often,who’s team are they on? What is their objective? What is their message? Maybe we will never know the truth,but hearing GO and knowing to always expect the unexpected keeps this one of if not the most important name in the genre to date….

  • Chuck Rosencrans

    Huge fan of Puce Mary. She is able to manipulate her sound in a way that doesn’t require an aesthetic of physicality, violence and abrasiveness. I find her to focus on a more psychoanalytic approach to power electronics which comments on isolation, anxiety, trust, individuality, gender & sexuality, repression, and frustration; she is able to capture the 21st century mass torture of ideology. She doesn’t need to evoke 20th century themes of genocide, serial killers, or warfare.

  • Drew Daniel

    Atrax Morgue has the purity of focus and forceful execution that makes you feel radically alive and present that you want from power electronics, but it also has poetics both at the level of lyrics and at the level of musical form, it manifests an ear for language’s resources as it circles obsessively around simple but taut phrases and an the ear for the textural variety within a seemingly narrow range of musical sources. To me it’s the deepest investigation into “power electronics” as a channeling and a working through of aggression and despair as affective polarities of outward and inward flow which are always kept in dialogue. Many reductive imitations followed, but Atrax Morgue models a commitment that went beyond art and, indeed, beyond life itself.

  • Kabultiloa Zamradiel

    Sutcliffe Jügend is one of my top artists in any genre. It’s not just the extremity, intensity, and sincerity of their assault on basic human decency. It’s also their nuanced approach to music many people assume is just a loud buzzing sound with a deranged malcontent screaming over the top of it. Kevin and Paul compose their PE, give it texture and coherence, and they never rest, always seeking to expand their sound and drag the genre into unexplored regions.

    To put it simply:

    If asked to name my ten favorite bands, SJ would be on the list.

    When I was interviewed by an online zine about my own musical project and asked the ten albums that had most influenced me, “The Victim as Beauty” was on the list.

  • My friend Jay Gambit’s project Crowhurst was the impetus for my foray into power electronics, and all of the various sub-genres. However, the man even helped me with advice on how to play in the genre.
    He recommended artists to open my eyes like Wolf Eyes and WOLD.
    He made sure to be a guiding hand and that warmth stays with me. The humanity found in such abrasive music made want to explore more and still does to this very day.

  • Mikko Ahokas

    I don’t know if this contest is over already, but for me it’s a tie between early Dissecting Table and Anenzephalia. Both have very different methods of execution but the atmosphere of total coldness and decay is the same for both. That atmosphere is the thing that draws me into this type of music.

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