Published by Alessandro Violante on March 4, 2016
Genocide Organ shouldn’t need to be presented to all the fans of the most extreme and provoking power electronics. With their new album, Obituary Of The Americas (released by Tesco Organisation), they transport us on a horror tour in the blackest South America, among drug dealers, death squads and guerrilla fighters belonging to ambiguous political fronts and ideologies.
Is it an act of accusation or is it maybe just a ruthless and realist gaze towards that First World that chooses not to see what happens in its boundaries? Nowadays, media concentrate themselves upon the Middle Eastern tragedies, but South America isn’t experiencing a peaceful period too… And what do you think about it? As usual, the provocatory Genocide Organ’s work isn’t exploited by politics, because it does what a certain kind of music should do: shock, disturb, ask questions and, above all, as often declared by themselves, they won’t never express their point of view on the topics faced in their albums, leaving opened a chanche in order to let the listener have an instinctive polarization of consciousnesses (for who have it). It rather seems a sadistic play with the listener: it’s up to him to project his point of view about things upon the noise generated by the band. Are your opinions only noise that adds itself to other noise? Are you maybe voyeurs of the human abjection? Do you want more of this? Wasn’t it enough?
The Evil attracts in all its forms and shades and when we listen to the walls of sound generated by songs such as Autodefensa, we are, at the same time, projected in a world broken in pieces in which casual samples emerge upon words screamed in spanish language: “matar”, for example, is a word that strongly emerges, meant as the act of killing or to be killed. In Formacion De Guerrilla we are being projected into a paramilitary nightmare, a bad trip in which, among distorted vocals, we imagine soldiers or guerrillas that make military exercises, while I Don’t Wanna Die is a sort of horror kaleidoscope, a psychic waterboarding as that of A Clockwork Orange, in which threatening images of South America are randomly skimed, as in the video that accompany the song. Panama, El Salvador, Guatemala’s jungles are the scenarios in which this modern “Heart of Obscurity” takes place, in which Narcos, avenger gangs and the private guards allow few “fortunates” to sleep “almost” calm, etc… while Kaibil quotes, in its title, the Kaibil Brigade, élite soldiers of the Guatemala’s army. Causa Justa and Todo Per La Patria, in their titles too, recall a certain rethoric that, almost always, has the result of pouring a lot of blood of innocents on both the war counterposed areas. Upon all, the frightening shadow of Operation Condor emerges, anf the rest is recent history that you can read and upon which, maybe, the last word has still to be written.
As far as its expressive form is concerned, this work is extremely valid as it succeeds in balancing samplings, a distorted use of vocals and high and low frequencies together with pulsing cacophonies as in the better power electronics tradition, a genre of which Genocide Organ today can be considered absolute “dictators”. The excellent use of the samplings embellishes the whole album. Paradoxically, an extreme album as it is, a sort of “snuff music” in a war scenario, also succeeds in seducing and being listenable thanks to its good balance of the chaos. Unreachable peaks for several, too many imitators of a certain sound.
Label: Tesco Organisation