Socialistisches Patienten Kollektiv* ‎– Leichenschrei

The Grey Area ‎– spk 2cd
CD, Album

Companies, etc.


  • Adapted By (Text)Lustmord
  • Design, TypographyDisinformation (3)
  • Drums, Percussion [Synkussion, Metal Percussion]Pinker*
  • Mixed ByPhil Punch, SPK
  • Other [Visuals] – Dominic Guerin
  • Painting [Front Cover Painting, Patient At Rossegg Sanatorium, Switz.]R. Gie
  • Supervised By [Compact Disc Edition Planned & Supervised By]B. Lustmord*
  • Synthesizer, Electronics [Rhythms], TapeNE/H/IL*
  • Synthesizer, Electronics [Rhythms], Tape, Percussion [Synkussion, Metal Percussion], Vocals, Shenai, Performer [Machinery]Oblivion (9)
  • Vocals, Photography BySinan*


Recorded 1981, mixed at Groovex Studios, Sydney, March 1982.
Front cover: painting - Circulation of Effluvia with Central Machine and Metric Tableau (1916)
Rear cover: photograph from video of SPK performance at an abandoned brickworks, Sydney 6.3.82

℗ 1982 Side Effects Records
© 1992 The Grey Area of Mute Records
Printed in Great Britain
All titles SPK Music 1992

Comes in a standard jewel case with twelve page booklet.

Barcode and Other Identifiers

  • Barcode: 5 016025 680412
  • Matrix / Runout (Variant 1): B1199 SPK 2 CD
  • Matrix / Runout (Variant 2): SPK 2 252

Other Versions (5 of 6) View All

Cat# Artist Title (Format) Label Cat# Country Year
T-9 SPK Leichenschrei(LP, Album) Thermidor T-9 US 1982 Sell This Version
spk 2cd, SPK2CD, 5016025680412 Socialistisches Patienten Kollektiv* Leichenschrei(CD, Album, RE) The Grey Area, The Grey Area, Mute spk 2cd, SPK2CD, 5016025680412 UK 2003 Sell This Version
spk 2cd, SPK2CD, 5016025680412 Socialistisches Patienten Kollektiv* Leichenschrei(CD, Album, RE) The Grey Area, The Grey Area, Mute spk 2cd, SPK2CD, 5016025680412 UK 2003 Sell This Version
SER 02 Sozialistisches Patienten Kollektiv* Leichenschrei(LP, Album) Side Effects SER 02 UK 1983 Sell This Version
NORMAL 26 Sozialistisches Patienten Kollektiv* Leichenschrei(LP, Album, RE) Normal NORMAL 26 Germany 1986 Sell This Version



Add Review



June 4, 2012
This album, showing how far they had come in just two years, opens with "Genetic Transmission", closely akin to "Hamburger Lady" with it's rising & falling bass sound & the disturbing lyrics, changed by added percussion & synthetics. "Post-Mortem" is a more structured piece sounding not unlike JAPAN circa "Tin Drum" after being injected with experimental drugs. The drums are huge & spatial, scattering across the panorama in controlled deltas of sound. The tale, spoken by an Australian girl, is a rather nasty tale of experimentation & exploitation (and mad paranoia). "Desolation" is a short loose thing using small metal percussion over growling bass sounds and laughing lemures. "Napalm (Terminal Patient)" is a loose, non-beat thing based on a distant exploding loop, with spoken voice riding it's non-body. "Cry From The Sanatorium" is perhaps the most advanced, structured piece here, a busy rhythmic piece going at an EBM tempo mainly constructed of percussive sounds - snappy, muted bassy, many in between. Add to these 'found' voice speaking in a higher pitch & bass guitar creating scrolling patterns & you might have some idea of how it sounds. "Baby Blue Eyes" follows in it's wake, almost keeping the same tempo, yet the track itself is so much stranger, while based on a 'normal' drum beat, it is full of industrial noises. "Israel" follows in it's tracks, again a similar piece, a fast paced drumming track joined by all manner of industrial sounds. "Internal Bleeding" carries the sound onwards, taking a pseudo-Ethnic drum pattern through dark Industrial soundscapes while a women talks of imminent seduction. "Chamber Music" harkens back to earlier Industrial music with a clanking, clattering drum pattern over which all manner of noise & synthetics are laid, creating a stark & disturbing atmosphere of cacophonous fear. "Despair" is once more a strange, dark and atmospheric piece, whose most obvious motif is it's unwavering thump-thump-thump drum sound, relentlessly moving onwards through rising fuzzed electronics & wasteland detritus percussion. There is even a tune in there, a sort of ravaged "Are Friends Electric?". "The Agony Of The Plasma" opens with screams, breaking glass and spoken male voice with Industrial enhancements, before growing into a fast, percussive, adrenaline-driving piece. "Day Of Pigs" has a smacking. smashing drum pattern held beneath various growing, soaring pieces of Industrial noise. This changes again & again, following a normal bassline through it's metamorphoses. It reminds me of EINSTÜRZENDE NEUBAUTEN's "ZNS" in any ways. "Wars In Islam" follows in it's wake, a fastish piece of driving bass and machine noise over which metal percussion, like flat bells, are played. It has a curious hybrid Rock/Industrial sound, which pushes it along in a panting, breathy way, changing as it hammers along. The album closes with "Maladia Europa (The European Sickness)" - a moody drifting piece given shape by stark drums which batter along steadily, surrounded by a mass of amorphous noise which seems to have emanated from the spirit world's darker corners, brought into this dimension by the Monk's chanting. It has a building feel to it, climaxing with an animal cry.
It it hadn't been for CD, this album wouldn't be easy to follow track by track, as each seems to blend into the next without a moment to breathe in between. The music? Well, I think they had found their best-known sound on this album. It curiously changes mood & style over periods of several tracks, making the track-by-track review a little redundant. These were the big names, along with EINSTÜRZENDE NEUBAUTEN & TEST DEPT way back then, during the so-called Metal-Bashin' period. While such junk percussion is present here, it does not overdo the theme, instead blending it with a myriad other instruments.

Originally reviewed for Soft Watch.