DEATH GENESIS – DEATH GENESIS

Detroit based composer Pete Bastian has been a prolific entity on the experimental music front, to say the least. Under the guise of King Shoji, there is an entire Bandcamp dedicated to his techno-organic explorations.

We as a label also were fortunate enough to release three of his works in quick succession; Black Rainbow Machine, Vortex and CHERUB/DEMON on varying formats; including the humble Minidisc.

But a change in Bastian’s approach to composing, leading to an audible shift in his works, led to the King Shoji name being retired and instead comes Death Genesis; the eponymous debut of power electronics out today digitally and on CDR through MUZAI Records.

“I have always viewed death as simply the beginning of another form of existence,” Bastian writes, “and that it is an endless cycle – death being a genesis for a new life on another astral plane. The word ‘Genesis’ has also had a place in my life it seems; Sega Genesis being my first console, Genesis Breyer P-Orridge of Throbbing Gristle. It has been in my life for a long time.”

The works of Death Genesis have been influenced by other power electronic composers such as Tim Drage and Lisa McKendrick of Isntses, Frame Rust and Controlled Bleeding – “anyone who makes some sort of cosmic connection with machines” in Bastian’s view – but Death Genesis also draws from free jazz, traditional Eastern music and even death metal.

“The use of chaotic noise, drones and atonality brings one that much closer to the Higher Power.”

Having moved from an assemblage of works more akin to harsh noise under this prior moniker, Death Genesis is something Bastian feels gives more control to the machines used in creating his works than the conductor like nature of King Shoji.

“For me, power electronics means giving complete control to sound machines. The operator becomes one with them and the sound machines take over any human thought in their powers. This, I feel, lends to the occult aspect of Death Genesis.”

“Luigi Russolo and the Italo-Futurist movement has an immense impact on power electronics and its concepts.”

“Most of the set-ups consist of the operator setting up the machines, patching them, adjusting signal chains, levels, and simply letting them run wild, morphing and melting sonic waves with little to no human interference.”

Bastian’s results have become even more malevolent than his King Shoji catalogue. More maligned, visceral and sense of “auditory gore.”

Something that Bastian is happy to acknowledge and yet hopes the listener sees and hears the beauty of the gore, and the goriness of its beauty.

With compositions ranging from 10+ minutes, to the five-piece musical suite of “Death Genesis (Finale), there may be some apprehension to unsuspecting listeners, but the length of the tracks is integral to the meditative aspect of the recording/listening process.

“I want the listener to feel that cosmic connection. That can’t be properly achieves in three minutes or less.”

Death Genesis is available on CDR and through all leading digital platforms.

The Genesis of Death Genesis

The transition from King Shoji to Death Genesis was not a sudden rupture but a gradual metamorphosis, reflecting Pete Bastian’s deepening engagement with the occult dimensions of sound. Under King Shoji, Bastian explored techno-organic textures, often weaving rhythmic pulses with abstract noise. However, as his compositional focus shifted toward the raw, unmediated power of electronics, the need for a new vessel became apparent. “King Shoji was about exploring the dialogue between human intent and machine response,” Bastian explains. “Death Genesis is about surrendering that intent entirely—letting the machines speak their own language of decay and regeneration.”

The name itself encapsulates a philosophy of cyclical transformation. Drawing from personal touchstones like the Sega Genesis console and the pioneering industrial artist Genesis Breyer P-Orridge, Bastian aligns his project with a lineage of creative destruction. “Genesis is not just a beginning; it is a violent tearing away of the old to make way for the new,” he notes. This ethos is embedded in the very fabric of the recordings, where feedback loops and erratic oscillations evoke both the death of conventional musicality and the birth of something otherworldly.

The Mechanics of Surrender

Central to the Death Genesis methodology is the concept of “operator as conduit.” Unlike traditional composition, where the artist imposes structure, Bastian’s approach involves setting up complex signal chains and then stepping back. “I patch the machines, adjust levels, and then I let them run wild,” he says. “The human element is in the initial configuration, but after that, it’s about non-interference.” This practice aligns with the Italo-Futurist ideals of Luigi Russolo, who championed the art of noises as a means of connecting with the industrial age’s primal energies.

The resulting soundscapes are dense and unpredictable, often shifting between piercing high frequencies and sub-bass rumbles without warning. Bastian employs a variety of analog synthesizers, feedback loops, and contact microphones, many of which are modified to behave erratically. “The machines have their own will,” he asserts. “My job is to create the conditions for them to express it.” This philosophy extends to the recording process, where long takes are preferred to capture the organic evolution of each piece. The album’s extended track lengths—some exceeding ten minutes—are not mere indulgence but a deliberate strategy to immerse the listener in a meditative state.

Influences and Lineages

Death Genesis operates within a rich tradition of power electronics, a genre known for its confrontational intensity and philosophical underpinnings. Bastian cites Tim Drage and Lisa McKendrick of Isntses, Frame Rust, and Controlled Bleeding as key influences, artists who similarly blur the line between human and machine. “They make a cosmic connection with their equipment,” he observes. “It’s not about domination; it’s about symbiosis.” This perspective is evident in the album’s textures, which range from harsh, grinding noise to unexpectedly melodic passages that emerge from the chaos.

Beyond the immediate power electronics scene, Bastian draws from free jazz’s improvisational spirit, the modal structures of traditional Eastern music, and the visceral aggression of death metal. “All these forms share a willingness to embrace extremity,” he explains. “Death metal’s guttural vocals and blast beats, free jazz’s atonality, Eastern music’s drones—they all point toward a transcendence through intensity.” This eclectic synthesis gives Death Genesis a distinctive character, one that avoids genre purism in favor of a holistic sonic vision.

The Occult Dimension

For Bastian, the act of creating power electronics is inherently occult. “The word ‘occult’ means hidden,” he says. “When you let machines take over, you’re accessing hidden layers of reality—frequencies and vibrations that are normally inaudible.” This belief is reflected in the album’s thematic content, which explores death as a portal to other planes of existence. The track titles, while abstract, hint at esoteric concepts: “Death Genesis (Finale)” is described as a five-part suite that maps a journey through dissolution and rebirth.

The recording sessions themselves were conducted with ritualistic intent. Bastian describes dimly lit rooms, incense, and a focused meditative state before engaging the equipment. “It’s about setting the stage for a séance,” he reveals. “The machines are the mediums, and the sounds they produce are messages from beyond.” This approach lends the album an eerie, otherworldly quality that distinguishes it from more conventional noise releases. Listeners have reported feelings of unease, catharsis, and even spiritual awakening during playback.

Reception and Future Directions

Since its release, Death Genesis has garnered attention from the experimental music community for its uncompromising vision. Critics have noted the album’s ability to balance brutality with moments of unexpected beauty, a duality that Bastian sees as essential. “The gore is beautiful, and the beauty is gory,” he muses. “That tension is where the real power lies.” The CDR edition, with its hand-assembled packaging, has become a sought-after item among collectors of noise and industrial music.

Looking ahead, Bastian plans to continue exploring the Death Genesis project, with possible collaborations and live performances on the horizon. “Live settings offer a different kind of surrender,” he says. “The room becomes part of the instrument, and the audience’s energy feeds back into the machines.” While no specific dates have been announced, fans are encouraged to follow MUZAI Records’ News Archive for updates. The label has a history of supporting boundary-pushing artists, as seen in releases like SLOW DECLINE: MUZAI at 10. and Who is Herring Farmer?.

Listening Guide

For those new to power electronics, Death Genesis may seem daunting, but Bastian offers guidance. “Approach it as you would a meditation or a ritual,” he advises. “Don’t try to understand it intellectually; let the sounds wash over you.” He recommends listening on high-quality headphones or a full-range speaker system to appreciate the album’s dynamic range. The low frequencies, in particular, require adequate reproduction to feel their physical impact.

The album’s structure is designed to be experienced in sequence, with each track building on the previous one’s sonic vocabulary. The opening pieces establish a foundation of dense, layered noise, while later tracks introduce more space and silence, allowing the listener to breathe before the climactic finale. “It’s a journey,” Bastian states. “Like any good journey, it has its trials and its revelations.” For those interested in related releases, MUZAI’s catalog includes WHO’D’VE THUNK?! – GENERATION EXTINCT and PREVIEW – FADOHT – AXONAL FIRING SQUID, which explore adjacent sonic territories.