In the canon of European industrial music, few names carry the same weight as Imminent. The Belgian project of Olivier Moreau, once known as Imminent Starvation, has been reshaping electronic soundscapes since the 1990s with a vision that is both architectural and apocalyptic. His music is not content to simply echo the clamor of machines; it builds towering structures of rhythm and then gleefully smashes them to pieces. Albums like Human Dislocation and Nord became benchmarks of the rhythmic noise genre, celebrated for their seismic bass patterns and meticulous layers of distortion. Nord in particular cemented Moreau’s reputation as a provocateur: legend has it that he destroyed his own mixing desk during its making, enclosing fragments of it in the limited edition box set. Such gestures reveal the spirit of Imminent — uncompromising, physical, and fiercely committed to sound as both medium and message. On stage, Imminent transforms into a visceral experience. The music pounds with martial precision, every beat a shockwave that can be felt as much as heard. Audiences are immersed in an overwhelming sonic architecture, equal parts discipline and chaos. It is this ability to command the body through sound that has made Imminent a cornerstone of the Ant-Zen roster and a revered presence at festivals worldwide. For Audiotrauma Fest 2025, Imminent arrives not as nostalgia but as raw proof of why rhythmic noise remains one of electronic music’s most potent languages. Moreau’s work continues to evolve, but its essence is unchanged: power, intensity, and the beauty of collapse. Imminent does not simply perform — it demolishes, leaving ruins that resound long after the last beat has fallen silent.