Kollaps is an Australian post-industrial project whose history is inseparable from violence—both as subject matter and as physical methodology. Formed on the periphery of collapse and personal disintegration, the project has cultivated a reputation for performances that are confrontational, ascetic, and unwavering in their commitment to realism. The band has recently relocated to Iceland, a move that reflects its ongoing pursuit of isolation, severity, and a more unforgiving creative environment.
The live apparatus centres on a set of morgue-derived instruments and implements: blood- and saliva-stained headrests, knee pins, hacksaws, throat expanders, and other devices once used to manipulate, open, and restrain the human body. These objects are not symbolic. They function as percussive tools and structural components in performance, carrying the residue of their original purpose into the project’s sonic architecture.

Currently part of the vivid Brussels electronic music scene,
German/Belgian Patrick Stevens has a long past in producing numerous records under various names, ever since 1990. From early harsh noise and industrial shows to the co-founding of the known rhythmic-noise project Sonar with ex-Klinik vocalist Dirk Ivens, up to producing techno and combining it as one of the first ever in the nineties with severe noise-injections. The blueprint for industrial techno. Releasing from the very start at the German cult-label ant-zen, the path of hypnoskull was very unpredictable, to say the least. Breakcore, noise, harshness in whatever form, the last decade now, ever since the start of the project in 1992, is a return to vocal-driven industrial meets techno with a severe political content.