Watch: Britt Rion – Chaos & Beauty

We get many submissions, some we care more for – in this case Britt Rion and her charming music-video, alongside an even more hypnotizing song: “Chaos & Beauty“. Some of the best music undoubtedly comes from down under, in this case New Zealand, as we’ve seen and heard with Fishrider Records way back in the past of this webzine.

At the first glance you might write it off as your regular pop-oriented blasphemy, but the further in you get – she sets a mood that diverts the attention from pop, into a marvelous metamorphosis of that, singer-songwriter and indie-pop. The catchiness is the only thing lent from regular pop, but the lyrics and intonation in her music is more subliminally beautiful – so she doesn’t have to resort to making a visual interpretation that reflects the vanity of regular pop music – it is a simple video that is Grime-esque in a sense – if you’ve seen one of her videos from “Genesis“.

Her voice is stunningly beautiful as well. We have to struggle not to move out of our own bleak hearts, it is as if a dystopian scenery quickly changes into a beautiful field and a forest full of local creatures singing in the day, when the sunlight hits your eyes and you’re with someone you love.



Exclusive Premiere: Eidulon – The Hierarchy Of The Inner Planes (feat. Naxal Protocol And Nordvargr)


This is one of the most interesting releases coming up on Malignant Records this year, Italy’s Eidulon unleashes a brutal combination of dark ambient and apocalyptical orchestral music – a combination that is rare to hear – within the forthcoming release “Combustioni“. It has been a long time since we last supported Malignant Records, but that’s only because there have been no room for more then a year to get a hold of something from their releases – we blame ourselves for that, rightfully so.

Now we’re bringing you one of the most fearsome collaborations this year, Eidulon utilizes the help of Naxal Protocol for a noise-oriented, crackling atmosphere – layered beneath the might of Nordvargr’s vocals that crush through everything. In collaboration with Malignant Records we’re pleased to bring you “The Hierarchy Of The Inner Planes (feat. Naxal Protocol And Nordvargr)“, taken from the forthcoming CD-release on the 25th of March.

If you haven’t already pre-ordered this release, make sure you do and fetch the CD as well when it is available. You can stream the song exclusively via Repartiseraren’s soundcloud weeks before the release is out, down below.


Exclusive: Repartiseraren announces; Celldöd added to Kalabalik på Tyrolen 2018 line-up!


We’re glad to be collaborating with Kalabalik på Tyrolen before the festival starts this year, and announce that Celldöd will be performing live on this year’s edition of Kalabalik på Tyrolen 2018 – which takes place in the idyllic setting of Tyrolen between the 24th and 25th of August this year – in a classic ‘folk park’ with a charming 1960’s aesthetic – as it have been for as long as it has been arranged.


Celldöd is the newest project of Anders Karlsson (Severe Illusion, The Pain Machinery, Vargdöd, et cetera), and he’s come a long way musically since having one of his tracks released on the first Ljudkalendern compilation on Repartiseraren back in 2015, and the second one in 2016. With releases on his own label Brutal Disciplin, Smashing Tapes Records, Femur, Medical Records LLC, and the latest one being “KESS07” on Kess Kill.


Ranging all the way from ambitious electronic body music, to acid techno in a new outfit mixed in with primitive minimal electronics, oozing of industrial vibes in a post-industrial world – a perfect match for total misanthropy and a knuckle in the skull of the unknowing. His live-performances have been praised for his total control over the ‘meager’ instruments he’s brought with him, being able to execute a perfect showmanship despite his instruments malfunctioning – using it to his advantage, to create a whirlwind of soaring destruction.

He’s performed on Kalabalik på Tyrolen a couple of years ago already, but this one will be on a whole other level, we anticipate at least. It is a must-see performance which you’ll be able to enjoy if you snatch a few tickets, invite your friends and whomever you like or dislike to this festival – it is a once-in-a-lifetime experience that we at Repartiseraren want to see next year as well – but it all depends on your support.

You can buy either an early bird ticket or an early bird support ticket – to show your appreciation for Sweden’s undoubtedly best alternative music festival. Here’s a link to where you purchase your ticket. Stream the latest release by Celldöd down below, and purchase the vinyl-release from Kess Kill if you like what you hear.


Exclusive Premiere: La Bile – La Piscine

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Dreamy, dreary breakbeats with tight IDM-influences is what makes or breaks La Bile – a french project having the honor of being released by Tripalium Corp – in their Digital Mutant Series (number 22), titled: “La Sublimation du Poulpe“. There’s a plethora of different electronic influences in each track on this release, from a multiverse of techno, acid and otherwise obscure electronic genres. Fetching the best from each genre, not compromising with the experimental overtones and the grittiness of it all.

We’re proud to be premiering a track from the B-Side of this release, in our ears one of the best tracks on the release, “La Piscine” delves into the human psyche and opens up a world of mystery, through fast-paced drums and constant flickering, there’s an urgency that doesn’t die out until the song finally fades into nothingness.

You better act quickly if you want it in physical form, as there’s only nine cassettes left of forty in total, so pre-order it from here, and stream the exclusive track from Repartiseraren’s own Soundcloud way before it is released.


Review: Anemone Tube – The Three Worlds – Allegory Of Vanity


This project had previously been unknown to me, a world I did not want to explore by myself without anyone by my side – a sickening gut-wrenching feeling – coupled with astonishment as I ventured deeper into my own insanity. Anemone Tube is without a doubt one of the most complex experimental industrial, dark ambient acts out there right now. Stefan Hanser – the real name of this musical culprit – also runs the label that released this compilation, The Epicurean.


He was kind enough to send me one of his three latest releases, featuring earlier unreleased material and bits plus pieces that have been featured on obscure releases. The one I was sent is the last one in the series, “The Three Worlds – Allegory of Vanity” – playing around with the word vanity, depicting it in different settings and with different edges to make a complete red line throughout the releases.


The aesthetic aspect of The Three Worlds – Allegory Of Vanity

It is very clear from the beginning as to how much time have been spent on the artwork alone, there are subtle meanings which you can draw from the artwork itself, and it is a delight to hold on to the physical material and view the aesthetic splendor. Not many artists have such a beautiful, harrowing cover. A lot of inspiration is drawn from Buddhism in general, specifically the spiritual aspects of the religious teachings of it.


There is a rejection of death, there is an embrace of death in the cover itself – nothing lasts forever, it is as if there’s a mummified corpse propped up on the artwork – which is frightening for a Westerner like me. A certain aspect of what makes or breaks the modern human is the fear of death. The photography taken by Dario Lehner encompasses much about what makes Anemone Tube a great artist, there’s a depth and a thought not just on the music – but on the aesthetic aspect – it is entwined with everything else.

The musical aspect of The Three Worlds – Allegory Of Vanity

Extreme music in different shapes and forms have always been interesting for us, but we’ve never gotten around to the more extreme forms of industrial music. Here’s a real combination of the occult and the experienced at the same time, a veteran of industrial music is more likely to deliver something listenable or thoughtful.

The first song “Ausweg” encompasses material recorded during 1997 – which is unfathomable that it has been over twenty years since then. It is with an urgency that you’re thrown into the chaos of crackling noises, what sounds like gunshots into the air – a veritable nightmare that we’d make sure to never live to see. The word in itself, “Ausweg“, portrays a grim reality which musically is not far away from turning into a mish-mash of continuous loops, into a more controlled and adventurous mixture of dark ambient and experimental industrial music.

Throw in a bit of power electronics to shape the mold that it goes by, just to hear the sirens roar as the skies blacken above you – this music is perfect to listen to in the evening, because the same kind of mayhem isn’t believable musically during daytime. Towards the end of the song there’s a lull of acceptance, a small concentrated steadily shifting atmosphere that leaves nothing more then an overlook of the maniacal frenzy that just occurred musically.

Primary Slave“, also one of his works from 1997, is a descent into nothingness, a nihilistic tendency that devours all the joy you’ve worked up through your day. It is emotionally draining to be listening to, but admirably complex in both the subjective topics being disseminated among a barrage of strong, abrasive rhythm that leaves nothing to be desired musically – it is thought-provoking without having to leave an inch to the imagination. It is like being told what you should be doing, despite a nervousness that slips through the cracks of your subconsciousness.

Honestly, there’s few people that manage to pull off such a masterful combination of the darker genres in electronic music, once you’ve listened until this song, there really isn’t much that can bring forth anything – unless you look far back into the 1980’s, and the primary sources of where this music actually comes from. One of the negatives with this kind of music is that if you’re not heavily into it, there’s nothing you could gain – egotistically speaking – from listening to this. It is a niche that is waiting to reap its benefits, but Anemone Tube’s completeness is what ultimately could break this kind of basic thought.

The third song, “Illusions“, is a previously unreleased track from 1998. Here he makes a clear example with his lyrical ingeniousness, combining the harshness in his vocals with the overall spearheaded atmosphere that thrusts with all its combined weight – into a morbid dark ambient spectacle. A spectacle that leaves no-one undisturbed, a whirlwind of the most uncompromising power electronics, industrialized experimental music that you’ve heard for a long time. This satisfies every man’s need of true, infectious anti-music.

In comparison with the other songs, this one is our favorite. That’s one of the main benefits of listening to Anemone Tube – when one song is surprisingly great – another one strikes out from below and takes the throne. It is almost unbearable to listen through the end, as the intensity is ramped up and you feel a great deal of paranoia – surely one of the most emotionally charged songs thus far.

Asphyxiate” and “Imminence” were both recorded in 1998, previously released on “Allegories For The Future“, a cassette-release on Loud!. The only reason both of these are written about in the same column, is because it feels like they are more intimately connected then the other songs, both logically but also musically. The aforementioned one isn’t that big of a deal in comparison with the last song, but it bridges over a gap between the more emotionally charged songs, and the fact that it fills you with total indifference.

Asphyxiate” is literally what it aims to be, just by looking on the title. It is indescribably horrid – not in the musical way – but as it lacks the complexity and forcefulness of the other tracks on the release. “Imminence” grabs a hold of the classic power electronics sound and puts in an atmosphere where it otherwise would be lacking, a constant disarray of charged electronica that bashes in your skull with such frequency that it must be played out loud. If punk is dead then it will re-surge post-mortem through this release – this kind of music is as uncompromising now as it was back then – and this first compilation is a tribute which holds the spirit to a high degree.

For those of you who have been following Anemone Tube for a long time, we sincerely recommend getting this release. Instead of just buying it digitally, but this wonderfully crafted CD and play it quietly, or aloud. Stream it in full down below, this release is as brutal as it possibly could get, and it isn’t a forced re-hash of older material.



Though the cover is too macabre for our taste, as the once beautiful woman have been thoroughly manipulated into looking as a piece of modern art – which in itself is very distasteful – DECADES / FAILURES musical aspect trumps everything else. As written in the description for the release, this piece of music was mastered in all haste, only using meager methods of recording – such as a blown speaker – all-in-all it adds more then it takes away from the music.

A bed-ridden and sickly vibe transformed into brazen post-punk, with an atmosphere of chords that are simply otherworldly together with the heavily distorted vocals. There’s a hopelessness that can be found in the lyrics and the general mood of each song, especially “Song 5” – but as a closing song it manages to ooze with hope, a light shining through in our darkest moments. Had this been mastered a bit more, or maybe been recorded in a different setting – it quickly would’ve lost its inner message and tone.

Listen to the release in full down below, buy it digitally to support the artist, so this can hopefully be made into a cassette.


Uncompromising body-music turned into a mish-mash of new beat industrial greatness, Australian outfit BURA BURA manages to catch a depth which is overlooked within electronic body music, as his heavily transformed vocals bounce against the complex percussion in each song. A lot of the songs would fit better in a cinematic setting, but some of them are outright ridiculously great to listen to in some parts, especially “Flex Like Rex“.

Ironically enough, what he manages to pull off best is the neo-noir vibe of post-punk lewdness and electronic body madness – not so much with the more electro and industrial-influenced tracks – a catastrophic mess of blends and meshes that need to be more thoroughly tested for the forthcoming releases. The passages of swirling ambient that takes you into new heights of your own consciousness is frightening at first, but when the beats whirl around your head and you go further down the tunnel, there’s nothing anyone can do to stop it.

The release is available both digitally, and on cassette via Moontown Records. If you’re into it, you can also purchase one of the totebags specifically made for this release. Just follow the link through bandcamp down below.


Soft Riot have long been one of our favorite artists, as he dabbles with the most comedic aspects of synth-pop music – but manages to keep a straight face through everything – delivering complex and atmospheric synthesizer music – especially in this new release, “The Outsider In The Mirror“. When it comes to the lyrics of some of these songs, he reveals how much talent it takes to create such imaginative lyrical content – whilst keeping the music in tune with everything he utters. It might not be the prettiest voice in the world, but there’s a sinister tone in his voice, there’s a sincerity being delivered with every word.

Waiting For Something Terrible To Happen” is a spastic ambush, a ticking clock of weirdness and anticipation, delivering catchy arpeggios and creative outbursts of heavy, deep electronic vibes. Even though it might not be some of this best releases of all time, it is a more cheerful and less moody vibe to this, a sense of belonging is shown between the lines of tongue-in-cheek lyrical brazenness. We’re eager to hear more of this, even though he’s heading in a very experimental yet freakishly pop-oriented direction.

The release is available for purchase via Possession Records, digitally, on CD, vinyl and cassette. You can purchase it below by following the bandcamp-link, or simply stream until you make your mind up.


Listen: Grand Mal x – Darkness


Harrowing, eclectic dance music for those who appreciate the esoteric. Grand Mal x surprise us with another release, in companionship with Michael Idehall whose music can be related in one way or another to this project musically, but they deal with the concepts differently. What is most enjoyable when listening to “Darkness” is the complex synthesizers that pin angelic towards demonic – sin against the good – a constant battle between what is right and what is wrong.

Stjärndamm” is our favorite song on this release, with a purposeful barrage of basedrums that hammer into your consciousness, the dreariness of the atmosphere consumes you as it progresses – or regresses. There are some beautiful chords laden from the synthesizer as well, together with second long samplings that pierce through the malevolence of it all – though the concept of it seems beautiful when you utter the title, but the music itself suggests something different.

A thoroughly complacent album, a deep insight to everything that shaped and formed Grand Mal x from before – concentrated into a roller-coaster of emotions, messages and sublimity. There are facets you don’t recognize once you hear it the first time, as in “Black Book” which was co-written with Mattias Ivarsson, a very different song that detaches from the release as a whole, but knits it finely together with “A Star For Everyone” – a song also featured on our own compilation “Volume 2 – It Will Never Be The Same“.

Buy the CD from the Ant-Zen mailorder, or purchase the digital release below while you’re streaming the release anyway.