For over a decade, Climax Denial has been exploring a unique and evolving approach to the power-electronics genre. Beginning with his debut tape on Hospital Productions, and following with dozens of other sought-after releases: peerless in their stalker/submissive debauchery. Alex Kmet with his Climax Denial project practically bathes in its own urgent sexuality, stalking through each album with glassy eyes and a raging boner, just like the protagonists of all of those classics you are tempted to put away when mom/girlfriend/straight-job friends come over. In an age where many of his peers are doing their part to look beyond perverse sexuality, or perhaps expressing it in more poetic terms, Climax Denial rings true like the last of the old-school perverts, a man as terrifying as he is abject. "In The Absence Of Self-Control" is Climax Denial's first full-length LP and features all new material. Teasing with elements of dark ambient restraint, coyly manic vocals, and anxious industrial texture; we are presented with an unnerving composition of lovingly lecherous soundscapes.

‘'I've never consciously set out to become a ‘Power Electronics Musician' or whatever, it's just like I was saying before, I always want there to be some kind of context behind the noise. Most power electronics deals with exploring the dark side of human nature objectively, or confessing your own darknesses. I write about what I know. I just have to be honest. These things are what I'm into doing and this is what keeps me up at night and this is what turns me on. Mostly what turns me on! It was never a conscious attempt to change the genre. I've just done whatever I wanted to from the beginning, trying to avoid falling completely into any one category. It's sexual and emotional submission with fits of violence. It's the declaration of my self to fully experience the essence of the female sex. It's the severe depression and it's knowing I'm better and stronger than most other people for being able to see things the way I see them.'' Alex Kmet interviewed by Chis Sienko on As Loud As Possible magazine