Oslo, London
8 October 2026
Test Dept have been through the wars (the Cold War, Gulf I, Gulf II, Iran – do they never end?). The survivors take to the stage in Hackney with sample pads and laptops where industrial-strength springs and sheets of corrugated steel once fought for space. This is Test Dept REDUX, stripped down to the core of Graham Cunnington and Paul Jamrozy, and accompanied by a live drummer. The physicality of earlier TD shows might have become more restrained, over the years, but there is no let-up in the intensity of their performance.
Cunnington’s vocals have lost none of their menace. On tracks like “Information Scare” and “Landlord,” the politically-charged message is underscored by his distinctive growl. The wretched of the Earth are given voice through his incantations, which are direct challenges to privilege.
Both Cunnington and Jamrozy are sporting t-shirts with slogans from the anti-war movement. They have not come to shrink in the face of pressures from right-wing newspapers. As Jamrozy takes up the microphone for “Slave to an Ism,” the film projected over them reminds us of their spirit of resistance.
Jamrozy also leads on the track, “Eternal,” which is dedicated to the memory of his son. The pain of loss is written on his face; carved into his features like a statue. He stands with his arms swept back, as if facing a storm. At the end of the song, he invites the room to just be, and the band pause for a moment of reflection. It’s a moment of strength through vulnerability that anchors the set with an emotional core formed of anguish and acceptance. Not everyone makes it to the other side, and those who do are forced to fill the spaces left empty with memory.
The genius of Test Dept always has been that they have something to say. Smashing gas cylinders and bed frames was a way to get their point across. Sequencers, samplers, Teenage Engineering gizmos, and Korg devices are just twists in the current means of production. The message transcends the medium with a mix of brutality and beauty. The Disturbance album, which has a strong presence in the set, was a way to bring their legacy forwards; live, the band continues to make their own history – even if it is not as they please.
Support came from Sophie Sirota, who worked a board of guitar pedals and effects units to create a drifting and sometimes enchanting sound with her viola. The Kent-based artist is known for her session work and collaborations, and there are dub plates on the merch table with mixes by Youth and Shape Navigator. There are touches of Nash the Slash and flashes of Schoenberg, but the sonic framework is quite original. Sirota returned to the stage for the final song in Test Dept’s set, adding treated strings to an improvised industrial workout. It was a magical touch.
Thanks to Gary Levermore and Alexei Monroe for assistance.
