The Genitorturers play for their sins 

The Genitorturers are skilled in the art of shocking people. Their debut album, "120 Days of Genitorture" helped put the bands' S&M obsession on the socio-musical map. Five years and one new recording contract later (for '90s neo-goth, "Darkwave" progenitors Cleopatra Records), lead vocalist Gen and her band of submissives, dominatrixes and "jackin' men" continue to attempt to shock the status quo on their new full-length CD, "Sin City."

The band's stage show, an ever-evolving descent into the extremes of sexuality, is both a blessing and a curse. According to Gen, a recent House of Blues show was canceled for unspecified reasons. "We were confirmed," she says. "I guess they're on Disney property and there was some concern about the show."

Live, the Genitorturers concoct a mercilessly spiked wall of dark, heavy rock to drag the audience over. While participants in the stage show are placed on strange racks, blindfolded, spanked and sometimes mutilated, guitarist Chains, bassist Evil D. Vincent and drummer Racci keep the mosh fuel pumping. Gen works it all like a fiendish ringmaster and still manages to belt out shrieks like shake until your master calls you/ shake until your mother bleeds without missing a beat.

The 1998 lineup of Genitorturers has resulted in a new focus on the music. Their recent work uses samples and keyboards to produce a metallic edge that has drawn comparisons to industrial patron-saints KMFDM. "We're not as industrial as all that; we use a real drummer, and real bass -- we have the organics," says Vincent, who previously provided vocals for Tampa death-metal mainstays Morbid Angel.

"Sin City" contains a linear narrative told with apocalyptic fire and ice. Rock decadence and excess gets full treatment on the title track, as well as on "Liars Lair." The stark "4 Walls Black" shimmers in a cold electronic pool, while the techno-core pulse of "One Who Feeds" has made it an underground hit in dance clubs.

"Sin City" is the band's first recording produced in their new studio in Tampa. The experience was enlightening. "When you get into this environment where you can really manipulate sound and experiment with ideas, it opens up a whole new world," says Gen. "I think that whole new world is reflected on the album."

We welcome readers to submit letters regarding articles and content in Orlando Weekly. Letters should be a minimum of 150 words, refer to content that has appeared on Orlando Weekly, and must include the writer's full name, address, and phone number for verification purposes. No attachments will be considered. Writers of letters selected for publication will be notified via email. Letters may be edited and shortened for space.

Email us at

Orlando Weekly works for you, and your support is essential.

Our small but mighty local team works tirelessly to bring you high-quality, uncensored news and cultural coverage of Central Florida.

Unlike many newspapers, ours is free – and we'd like to keep it that way, because we believe, now more than ever, everyone deserves access to accurate, independent coverage of their community.

Whether it's a one-time acknowledgement of this article or an ongoing pledge, your support helps keep Orlando’s true free press free.


Never miss a beat

Sign Up Now

Subscribe now to get the latest news delivered right to your inbox.

Read the Digital Print Issue

October 14, 2020

View more issues


© 2020 Orlando Weekly

Website powered by Foundation