Test Dept, sometimes credited as Test Department is a British industrial music group from London, England, that was one of the most important and influential early industrial music acts. Their approach was marked by the use of "found" material, re-constructed to better serve their purpose, of making "more" with "less". History The group formed in the London suburb of New Cross in 1981. The core members of the group were Graham Cunnington, Paul Jamrozy, Jonathan Toby Burdon, Paul Hines and Angus Farquhar. Other members who played with the group at various times included Alistair Adams, Neil Starr, John Eacott, Andy Cowton, Tony Cudlip, David Coulter, Liz Ranken, Gus Ferguson, Martin King, Simon Hyde, Russell MacDonald and KatieJane Garside. Comedian Vic Reeves played bass in an early incarnation of the band. The band signed to Some Bizzare Records, a label connected to acts like Depeche Mode, Soft Cell, The The, Cabaret Voltaire, PTV, Foetus, and Swans. The slides and film for Test Dept multi-media events were made by visual director Brett Turnbull. Their discography spans a wide variety of influences and styles, including a collaboration with the South Wales Striking Miners Choir in support of the miners' strike of 1984. They were particularly notable for complex and powerful percussion, as well as high-energy live performances. Like the German band Einstürzende Neubauten, another Some Bizzare label signing with whom they are often compared, Test Dept used unconventional instruments such as scrap metal and industrial machinery as sound sources; however, Test Dept's use of these objects was far more rhythmic than was Neubauten's, and was often accompanied by film and slide shows. The group were noted for large-scale events in unusual site-specific locations, such as Bishopsbrige Maintenance depot at Paddington station, Arch 69 and Titan Arch near Waterloo station, Cannon Street station, Stirling Castle and the disused St Rollox Railway Works in Glasgow. Test Dept. were also active in the 1980s underground tape scene with many of their earliest releases being available only on cassette. The band's album The Unacceptable Face of Freedom was praised by a music reviewer for The New York Times, claiming the album was notable for a "sophisticated use of sound-collage techniques and the helter-skelter momentum of its cyclical rhythms". In the 1990s, the band's music became less industrial and took on many of the properties of techno. The band's political stance was energised by the passing of the