A name like Tomás Nochteff might not ring any bells, but if you consider the fact that he’s involved with Mueran Humanos, you might know of him as a part of that artistic duo. He’s an Argentinian musician that in 1992 started the group Dios – together with Javier Aldana and Pedro Amodio – a group which in itself over time became a cult-group in Argentina. When the self-titled album was released in 2001, they broke up, and three years after that, he released a solo-album under his own name, called “Le Beat Juste“. Exactly on the time when he decided to move to Berlin in the 2000s, he found Carmen Burgess and officially founded this duo, Mueran Humanos, in 2006. They’re probably most known for their first self-titled release on Old Europa Café. But, since time passed and they released “Culpable” – a 7¨-release in 2012, as well as the maxi-single “El Circulo/La Langosta” in 2013 – he moved onto what became a continuation of his works under his own name. A solo-project that was continued where it was left off in 2006. Before we get to that however, we must also shed a light on the split-release he did together with the Spanish musician Arnau Sala Saez, titled “Música Para Disciplina” (Music For Disciplina) – intended for an art show called “Disciplina” – featuring the works of Gustavo Eandi at Galería Logo in Sao Paolo, Brazil.
Now, if we’d adjust the clock and set it onto 2014, Tomás Nochteff continues his trip as a solo-musician with the release “Pagan Easter“. Now in April, fittingly enough, Noisekölln Tapes – a label based out of Berlin – decided to put this release out on a limited edition cassette. His guitar-driven industrial music is more than it sounds like, a grandiose outlook into droning guitars and ambulant noise. Fading into a long-going atmosphere of the most substantial sound even to be found within a genre like this. Focusing more with the help of hardware, on the analogue aspect, giving a whole other warmth to the instrumentation. A rather grainy expedition into the heartland of noise and industrial combined, entwined with other influences. With the help of three pedals, strings and channels – the music was created during three days in Easter. Mind you, he once released it on cassette for his friends, limiting it to only nine tapes. So Noisekölln Tapes are re-releasing this music onto an edition of thirty-three cassettes, symbolically enough one would think. Stream the whole release down below and buy a tape if you’re interested.
We can present to you the wonderful music-video of the track “Alo“, that Heroin In Tahiti had put up a month ago, as a celebratory gesture for their coming vinyl 7¨ on Yerevan Tapes. “Peplum” is the name of their two-sided release, featuring the title-track “Peplum” on the A-Side, a kind of post-apocalyptic hurrah for an imaginary Ennio Morricone soundtrack, blended with the fururistic gaze of Lee Van Cleef’s rather ghastly face. As we look into matters on our own, the B-Side contains the track “Alo“, which you can listen to in the aforementioned video, as you get to follow them on a trip through rainy landscapes, on their highway to heroin. When it was written, it was originally featured in the exhibition by Phil Collins, called: “In Every Dream Home A Heartache“. In comparison, “Alo” is a more gloomy track which drones into the horrific but steadily engaging sound-scape that would make you awe-inspired even if you’d hear only a bit of it. Lurking in the shadows is the face of them, their clownish demeanor and their samba-like percussion on ecstasy. We suggest you look into the visuals for the first track, whilst you mellow out with the clandestine approach of the first track, as “Peplum” ceases to exist and flows magically into the B-Side. Hear the dreamy sound change into chugging guitars with a horror-themed drowsiness to it.
The release itself will be put out by Yerevan Tapes on a vinyl 7¨ on the 2nd of May. So whilst you wait for this promising release, have a bit of coffee and relax to the music-video which Repartiseraren could harbour to his own channel. It is by no means exclusive, other than for my channel at this time, but it can also be viewed from theirs. As I said in the beginning, this is more of a celebratory gesture for the growth of an organic Nordic themed Repartiseraren, together with the internationalist vibes of Heroin In Tahiti. Join us on our joint-adventure and await total misery, a slight transfusion with drowsiness – and the exceptionally great and original sound they produce.
Suren Unka. You might’ve heard of him, or you might’ve not. He’s a descendant from India living in New Zealand, raised in the town of Opotoki, currently living in Auckland. The name he’s chosen for himself is derived from his real name, which is Suren Raj Unka. Earlier, he’s been a part of the group Ponnyfight together with Fergus Burnett, and now he’s released his own album on CD titled “El Chupacabra“. We re-visit some kind of bizarre turn into ambient dubstep of some sort, where the atmosphere is the most important for the almost clerical melodies that can be heard. It stands clear that it’s influenced very much by the modern electronica that has sprung up in the 2000′s. Currently, Suren is educating himself at MAINZ (Music and Audio Institute of New Zealand). Even though his music seem to be far from what I’ve been doing, I just had to have something to do with it. I must say that I despise dubstep as such, but this modern variant which clings to some of the elements of that genre, it also lets free some IDM influences, danceable ambient and other very interesting combinations. The build-ups in the structure of the tracks come from a heavy melodic content which is supplied with sampling, just to hit the climactic peak together with the baseline that itself – also is melodic as hell. So this might turn some of you off, but I guess that others will listen to it with an “open” ear, if you know what I mean. He actually contacted me via e-mail and we came to the conclusion that a track should be put up by me.
So, that’s exactly what I did a couple of days ago. The track “Weather Science” from his newly released debut-album “El Chupacabra” was put up on my Soundcloud. Just so you could hear it from yourself and get a taste of what was to come from this release. The unreleased track is up and running, and the album itself has just been self-released by Suren. Listen to this bizarre mixture of different genres and stream, but listen to, this track so you know if you want the whole album or not. It has been put out on iTunes so you can buy it. But make up your mind first and listen to the track down below.
The seventh release by Hare Akedod – a label specializing in electro-acoustic “improvisation rituals” on limited cassette-runs – is Ōgon Batto. It stands for “Golden Bat“, in Japanese; “黄金 バット” – which is a Japanese superhero invented by Ichiro Suzuki, a Japanese illustrator, in 1930. Symbolizing what came to be the first superhero of Japan, at least when it came to cartoons. References to this character have been made in the anime Paranoia Agent, for example. This first release, however, was created by someone whose real name is Bent Von Bent. He also created the beautiful artwork for this particular release of his own. Bent has a history of being involved in different releases on Hare Akedod, specifically on the first release “001” with various instrumentation, whilst David Edren took care of the synthesizers and guitars. David shares the label with Bent, as they run it together. Anyhow, Bent was also a part of the second, fourth and fifth release – in the same kind of way. This seventh release marks a third year of releases, together with Hare Akedod and Forklong Daruplat before this one. Even though a lot of the electro-acoustic music on this label don’t touch me emotionally, this seventh release manages to do just that. Carefully laden guitar-chords that make up the landscape of sound, together with improvised selections of riffs that – together with the swirling and sublime background guitar – make up a wondrous atmosphere that is relaxing to hear. Another thing which makes this music even more exciting is the locations at which he’s recorded field recordings in. To get a local kind of vibration to everything, he’s recorded on site at Xi’An (西安) in the Shaanxi province of China and in Sapporo (札幌市), the fourth largest city in Japan. The intensiveness of the music itself is laden into place with a mellow string of variation instrumentation. Some kind of chaos is brewing down below.
You can fetch the release through Hare Akedod themselves, or soon through distributors ex-Vinylo in France and Tomentosa in the US at the moment – as more international re-sellers will appear. The cassette itself is limited to 80 smokey clear tapes with white print in a black cassette case with black screen-printed golden j-card and fullcolour insert. The music was recorded on site with Field Recordings in Xi’An and Sapporo, but the release itself was recorded in studio with everything else at Zol Der Wahn, whilst the first, fifth and sixth track were recorded by Roest at Jocques & Die Scheldebunker. Synthesizer on track number five, namely “Bunker Symfonie IX : Opmars“, was recorded by D. Edren at CEM Rotterdam. Artwork for the cassette was made by Bent Von Bent and the cover-photograph was taken by Roest. Everything you’re hearing was recorded in between 2013 to 2014, with the assistance of others, but mainly by Bent Von Bent. Stream the whole release down below and listen to it, carefully.
The sixth installment of the selection made by Katabatik. A compilation titled “Kollektion 6” featuring both artists and groups that are a part of the roster, but also those whom aren’t. This compilation is the sixth in a row of free compilations that can be listened to through Katabatik. Everything in electronica from C.L.A.W.S. to Zania Morgan, to the Michael Buchanan (the label-owner) solo-project Identity Theft. Weird electronica, minimal electronics, sincere dark-wave, odd industrial and everything in between. The compilation itself features twenty-three songs from artists and groups like Mikronaut, C.L.A.W.S., Zanna Nera, Cinkrillan Weight, Silent Girlfriend, Abandoned Footwear, Obsidian Blade, Not Breathing, RPTN, Thee Source, Exillon, Identity Theft, The Vivid, aratKilo, Blue Window, Seacrypt, Nebuzaradan, Zania Morgan, Antlers Mulm, Veil, Ionophore, Fluorescent Gray and Sinew. Representing the US as a whole, but mainly Oakland, throughout the rest of America. But also featuring international artists and groups whom are everything from known – to unknown – to somewhere in between. The compilation is rather eclectic but seem to highlight the weird combination between forceful techno, acidic house, 1990s themed dance music funneled into psychedelia – and otherwise forgotten electronica, but also new beat mayhem. Maybe not really my cup of tea – but it might be yours. Stream the whole compilation in its entirety down below.
Three weeks have gone since my exclusive premiere of the songs “Control” – taken from the newly released “We Live In This” 12¨, which featured Annie Gyllin on vocals. Johan Sturesson, whose alter-ego is Kord, recently got that release put out on Gooiland Elektro – the sub-label of Enfant Terrible. Since that release was out, I have been increasingly fascinated by that project and his involvement in and with Frak. Not to mention his affiliation with the label Börft Records, whose bizarre journey was covered by the state-run radio-programme Elektroniskt i P2, hosted by Andreas Tilliander. But this is not about that, because this is totally different. I noticed that Johan had been making some mixes on his own, or at least that he was interested in that. Therefore, I asked him to shape a mixtape for Repartiseraren just because I had taken great interest in his musical endeavours, not only limited to Kord, but also the likes of Monster Apparat which he’s involved in together with Daniel Svraka (Adolf Filter). Compiling tracks is something that I can do by myself, but I only get so far by selecting the songs that are my own favorites. So it can get boring very fast if I’m the only one supplying you with something to listen to.
So I now decided to ask Johan Sturesson to do a mix and/or mixtape for Repartiseraren. There is where the story begins. Said and done, Johan began making a mixtape for me and he was done very quickly. The result was very interesting and I learned about some new artists and groups thanks to him. Well, what did I see when I first looked at the tracklist, if not Poeme Electronique, Adolf Filter and Ortrotasce at a first glance. Then, I also saw a lot of different stuff that I did not immediately recognize. What on earth is Dada Pogrom, Mängelexemplar and Alien Skull Paint. They sound experimental as hell. Well, they weren’t actually, but they’re all electronic. The apt title for this mixtape is “In Exile Here“, because yes, you’re in exile on Repartiseraren. My lonley island only gets visited once in a while, but certainly not by celebrated artists like Kord. I feel very lucky to introduce to you, one of the nicest mixes that I have received for a long time. Or it might be so because I feel like I’m starstruck. You can listen to the mixtape exclusively on Repartiseraren and you can view the tracklist down below. Feel exiled, it’s good for your heart and soul.
Intro: Kord – I play my flute – Djuring Phonogram
1. The Phone – We are neutrons – Attractive Co-ordinates
2. Poeme Electronique – She´s an image – Attractive Co-ordinates
3. Gertrud Stein – Blümchen – Kernkrach
4. Sleeping desiress – Voice – Flexiwave
5. Marklion – Lets walk & talk – Alpage
6. Dwayne Sodahberk – Yr style – Tigerbeat 6 / iDEAL
7. The Actor – Picture 210 – Enfant Terrible
8. 1 Futurologischer Congress – Nur mit dir – Wagner Tonträger
9. U-Bahn X – Young hearts of Europé – EMI
10. Dada Pogrom – Happy happy happy – Beatkamp Inc.
11. Kord – KGB – Djuring Phonogram
12. Ortrotasce – World unrelated – Flexiwave
13. Alien Skull Paint – Electric – Genetic Music
14. Absolute Body Control – Give me your hands – Minimal / Maximal
15. Mängelexemplar – Urlaub im bett – Kernkrach
16. Adolf Filter – Inner walls – Enfant Terrible
17. Spectral Display – It takes a muscle to fall in love – EMI
Outro: Kord – I play my flute - Djuring Phonogram
My new favorite album. Vierance from Toronto have created a sublime piece of new-wave oriented synth-pop, together with the dark overtones of electro, unhinged with a techno counterpart. Their latest album “Semblance” came out just two weeks ago on DETH Records – the newly birthed label courtesy of the bass-player in (SINS) ϟ†Nϟ. In comparison to the earlier release by them, the “Vierance EP“, they’ve polished their sound a lot more. There are resemblances with their earlier release, but they’re less heavy on their atmosphere in contrast to their melodies. A vibrant motion, a slick but raw sound is captured with the later tracks on the release, with a rather frightening but erratic sound-scape is unearthed. Ringing in my ears is the harmonious vocals, especially within my favorite track “Mosaic” – heading in the completely right direction with the stalemate of sound, in a forlorn sonic landscape – of mythical proportions. Accordingly, the music always keep you on the edge, it brings you to life. Using their palette to color the world beautiful, with their soft-spoken melodies, yet at the same time – harshly lambasting your eardrums. I just wish that I could’ve found out about their doings earlier, since they seem to have been around for a while by now. If anything, Vierance was in need of getting inspected thoroughly, meaning that I have played this release on and off for the last few days when I came to stumble upon them by accident. Life is weird, but they carry a unique sound paired with a monolithic atmosphere. Stream their whole new release down below and make sure to check out DETH Records, as there will be a whole lot of future releases being put out by them, in the nearest future. Wondrous is a word coming in good company. Purchase the limited edition cassette, limited to 90 copies, from DETH Records.