Text (interviews/reviews)

Selected Interviews

Andrew Liles – 10 Questions for Michael Begg (2015)

Tokafi September 2014

IEM Radio (Russian language) One hour special on Human Greed, 2014

Voice of Russia August 2013 (Michael Begg and Dimitri Aryupin radio interview supporting OMEGA)http://ruvr.co.uk/radio_broadcast/77030634/119875267.html

Brainwashed January 2012

The Quietus August 2011

Blow Up September 2011 (in Italian)

Musique Machine February 2010

Tokafi September 2010

Paraphilia Magazine (also contains Michael Begg’s text “Moon Suite”)

Belsona Academy, 2009 (podcast hosted by Thomas Bailey, focused on Fortress Longing)

Adverse Effect May 2009



“Human Greed (or Michael Begg) is, for me, one of the foremost composers or musicians working today. His music is just immense, the emotional impact of it and the ease with which it soaks into the air and the atmosphere. ”
Wyrd Britain (UK)

Hivernant (2015)

“I cannot recommend both this album and Human Greed/ Begg’s discography highly enough. These recordings are hidden vaults that, once opened, will soundtrack your days and nights with beauty, longing, melancholy, grace and joy. Trust me, awaken the hivernant within you.”
Active Listener (UK)

“A refined album, crafted with great care and which sounds great. Perfect for what seems to be the starting of another dark season.”
Vital Weekly (Netherlands)

“Hivernant is beautiful, haunting, languid, beguiling.”
Acquarius, San Francisco (USA)

“Now seemingly a permanent fixture on our end of year lists, Michael Begg’s Human Greed once again stunned us with another rich, glacial and overwhelming album of unusual beauty.”
Was Ist Das, end of year shortlist (UK)


World Fair (2014)

“A peerless masterpiece” Top 10 albums of the year
Caleidoscope (Netherlands)

“World Fair is a devastatingly beautiful release from a much under-appreciated group… At the hands of Human Greed obliteration has never sounded so enticing”
Compulsion (UK)

“Masterly, and sometimes creepy as hell”
Top 10 albums of the year, Dark Entries (Belgium)

“If you have not heard this yet, rectify that situation immediately”
Brainwashed Readers Poll (USA)

“The brilliance of Human Greed has been quietly hidden in the music underground for a few years now and getting brighter all the time. This year they delivered their finest album yet, a dark swoon from the cold hills, a bedtime story for lost adults everywhere.”
Was Ist Das, Album of the Year (UK)

“A strong and provocative album… kaleidoscopically rich in sonic colour. It’s especially notable for the deftness with which it blends centuries-old songcraft with modern electronic production treatments and sounds.”
Textura (Canada)

“World Fair, charged by both the music of faith and science, is perhaps the most sublimely saddest of all their work to date”
Quietus (UK)

“”World Fair” is an incredible achievement… Human Greed are criminally undervalued; Begg is one of our most significant contemporary experimental composers. The scale that he has imagined and created with “World Fair” is testament to this. It is a masterwork”
The Active Listener (UK)

“An excellent release”
Vital Weekly (Netherlands)



“Sound wizard Michael Begg offers breathtaking sound collages… a dazzling, intriguing whole. Even after 10 spins this reviewer had goosebumps on his arms and a cold shiver running up the spine… indicating Begg as a fucking master of his craft. After listening, your perception of music and the apocalypse may never be the same”

“Excellent release… Almost like Jack Torrance going for a drink. Odd music, but an excellent showcase of what the musical capacities are of Michael Begg”
Frans de Waard, VITAL WEEKLY (Netherlands)

“Beautiful and extraordinary physical performance by Marcella Soltan

“Driven by the three-way powerhouse of soundtrack, lighting design, and physical action, what looks to be burlesque romp dissolves into something far more dangerous. Omega is a truly total theatre… thrilling, uncomfortable, scary.

“You will emerge blinking into the daylight shaken and stirred. Be warned.

“Omega is a very welcome reminder of just how high [the] bar has been set… it is often impossible to believe that human beings can actually move like this. It is also rare to see a production as technically polished… Far more than a show: this is a true theatrical experience.”

“This Pandora’s box of bizarre and sinister images takes place at the rather un-cabaret-friendly hour of 2.35pm, and may leave you wondering what exactly it was you consumed for lunch.

“A circus of horrors series of vignettes that vamp up their disturbing qualities to hysterical proportions… the cast demonstrate mesmerising nuance and skill… Flashes of arresting innovation.”

“There are unforgettable moments – the spiders that weave reality, the manic energy of the two chorus girls and
the final image of a lurking, sinister entity… A tableau of the Biblical story of Holofernes and Judith is erotic and disturbing.”

“Exhilaratingly gripping… a must see… but be warned, even the most intrepid fan of the gothic may find the characters stay with them a little later into the night than they would like.”

“A black, bleak mash-up of turns set to a full-on score by electronic composer Michael Begg. There’s smoke and contortions, a two-headed crooner, a dancing skeleton, and a frenetic nutcase with a feather on his head. Think Tod Browning’s Freaks crossed with David Lynch’s Eraserhead. I bet Madonna will put some of these tricks into her next tour.”

“OMEGA – Only a Russian company (blackSKYwhite) would offer such apocalyptic cabaret pleasures. Dark, unsettling and stunning.”

“At their best, the Russian bogey-clowns can corkscrew into your brain with impossible images, needling rhythms and enervating repetitions. Their tonal control is exceptional, their physical skill quite astonishing and their grasp of image and illusion world-class.”

“We were intoxicated, mesmerized and in awe”

“I have never seen a show with a more palpable hostility towards its audience… agonizingly loud (half the audience left; the other half cowered with fingers in their ears), grim and grotesque, intentionally obscure to the point of contempt… The production conveys nothing but sheer hatred for its audience.”

Dirt on Earth: a pocket of resistance

“A milestone release… Absolute Masterpiece”
Dark Entries

“Michael Begg offers us another magnificent piece of occluded ambience… A brilliant album”

“The glacial symphonies of Dirt on Earth could coat the Sahara in frost. There is no music on Earth that sounds as haunted as Human Greed.

“Dirt on Earth is a masterful creation… There used to be a trinity of Nurse With Wound, Current 93 and Coil. Now the sonic gate keepers are a quartet; Nurse, Current, Cyclobe and Human Greed. This is an essential album.”
Was Ist Das

“Political commitment returns to the field of abstract music. This record is an act of resistance against alienation. Any mystical beauty has its light… and here is a reflection in obsidian, with winter wind and flowing blood”

“Music of a great quality. Majestically played”
Vital Weekly

“Gloomy symphonies full of harrowing emotional life… a majestic, powerful, compelling masterpiece”

“Dirt On Earth is a creature of the night… pressing up against the listener and tugging at hair and clothing.

“The geographies of Dirt On Earth – in particular majestic closer ‘Scenes From The Carefree Life’ – feel like secret routes through highland terrain that’s already vaguely, naggingly familiar, with certain landmarks along the way reminding you briefly of your location before ushering you swiftly towards hollows and hills you’ve not yet explored.”
The Quietus


Fortress Longing
“Staggeringly beautiful music… utterly dreamlike… one of the albums of the year”

“A studio master creating an album of of mystery and imagination… contains so many moments of sheer perfection. Impossible to pin down. Impossible to put down”Was Ist Das

“A rich release full of hidden drama. Excellent.”
Vital Weekly

“Fortress Longing has the confidence and construct of a single orchestral symphony… with the unpredictable power to chill or destroy”
Musique Machine

“A gorgeous one-hour aural journey”
Francois Couture

“The music unfolds as a beautiful symphony from a parallel universe… It is a grand and compelling masterpiece of unprecedented splendour.”

Black Hill: Midnight at the Blighted Star

“Black Hill occupies a realm that is somewhere between the gorgeous drones of Stars of the Lid and the haunting and solemn “Symphony No. 3” by Henryk Górecki. This is powerful stuff and takes a while to fully digest it. The oily darkness that the music conjures up gets deeper and deeper with every listen, a resonant and otherworldly tremor that is at once human and sublime.”

PILGRIM: New World Homestead

“This is night music, which ripples with your deepest and darkest doubts… Human Greed have managed to conjure up a chilling collection of audio nightmares that calls the listener back again and again to discover more layers of sonic creepiness”
Rock a Rolla

“serious and overwhelming”[…] “a hostile environment of latent violence”
Trinta de Fevereiro

“Taking atmospheric, menacing ambience to heady new depths… to create an atmosphere which could enswathe the grimmest of David Lynch’s filmic output”

“As fitting a drama of nervous exploration and discovery, there is wonder and dread in equal measure here: Part dream, part nightmare, Pilgrim’s hypnotic call inevitably lures the listener into treacherous waters before plunging them into fatal depths”
Rough Trade


“A Fear filled symphony of terrors… that gradually entwines your imagination in its numerous sonic tentacles and refuses to relinquish its grip.”
Edwin Pouncey, The Wire

“…a dark delight full of Stygian soundscapes”

“A master class in claustrophobic paranoia.”
BarCode Magazine

“Secures a place for Human Greed in the echelons of melancholic experimentalism”.

“Requires the patience of a saint”

“Disquieting as it is exceptional… Brutally honest, enlightening and remarkable”
Dark Star