Thursday 13 September 2018, 7.30pm
French noise scene spearheads, Sister Iodine, perform at OTO following the release of their sixth album, ‘Venom’, earlier this year. Active since the nineties, the trio of Erik Minkkinen, Lionel Fernandez, and Nicolas Mazet, have not lost one milligram of their radical and uncompromised approach in sound exploration and limits-stretching.
It is with the advent of the 21st century - more than ever - that the decisive path of Sister Iodine has taken a fascinating route. From their debut album, ADN115, released in 1994 which was strongly influenced by the original New York No Wave scene (Mars, DNA, Red Transistor) to their more recent works which are augmented by "newer poisons" such as black metal, or the most abrasive end of industrial music and power electronics, as well as experimental electronics (Editions Mego has reissued an extended version of Premier Sang's "Flame Desastre" on CD), the band has managed to survive through the years from the inhospitable French squats of the nineties to nowadays’ established venues and proper tours. Today, the band’s music has changed recipients and has attracted younger generations with their organized radioactive chaos, never conceding anything from their initial intensity. Over the years, Sister Iodine will have also created their own idiosyncratic language, for which sound exploration matters and pure beauty seem to count as much as pure explosive ferocity, while intense violence and energy gets deployed in live shows.
“This is killer - unremittingly bleak and tortuous noise from French unit Sister Iodine, plying a skull scraping fusion of harsh noise, blackmetal, and charred electronics ruptured by sparing percussion and pitch black ambient vortices, for Egypt’s Nashazphone. Some brilliant moments inside for followers of Nate Young, Prurient, Wold, Wolves In The Throne Room.” – Boomkat
“At the age of internet, the band achieves the unbelievable. They manage to produce music where history has been thrown away, ramifications and common denominators disappear, influences seem non-existent and there are no more references to hold on to, unless their own free and radical music opens to all.” – NOISEY