Reviews: Multiple Man – New Metal, V/A – Strategies Against The Body Vol. 2

newmetal

Here comes a double track-by-track review of the newest releases, courtesy of DKA Records, based out of Atlanta, Georgia. Their discography includes: Boy Harsher, Dylan Ettinger / Goldendust, Profligate, Fit Of Body, Warning Light, Voice Of Saturn / Anticipation, High-Functioning Flesh, Valis, TWINS and Women’s Work.

As of the 2nd of March they’ve added two new releases to this immense discography – the debut full-length LP-release by Brisbane’s twin-brother-duo Sean and Chris Campion, otherwise known as Multiple Man, the release goes by the name of “New Metal“. Strategies Against The Bodies have now been introduced as a second volume, featuring even more artists then the first compilation. In this article I dissect each song of both releases and tell you my opinion on them. The release was mixed by Matt Weiner (CGI Records) and mastered by Dietrich Schoenemann.

Starting off with “New Metal“, having listened through their other discography, including favorites of mine from Detonic Records – the “Guilt Culture/Boiling Down” double-single – it is fair to say that when introducing this new full-length they’ve grown a bit in my eyes considering the sound itself and the general aesthetics which are pleasing for the eyes as the cover itself (created by James Stuart) reminds one about earlier industrial-releases in terms of appearance. You get a sinister and chaotic feeling in terms of the colors when they mix together, outlining the appearance of a seemingly distraught and/or desperate man. The font is also alluring and you basically get it right if you think the release has anything to do with body music or industrial music.

As the first song “Slow Code” is rung in by the scraping of metal, a violently underlying basedrum is introduced and on top of that a steady rocking beat – which together with other percussive elements mixed together – suddenly jumpstarts an electronic body music rhythm. It’s a pleasing synthesizer which develops into a harsher, more industrial-like anthemic kind of song, as outdrawn baselines and the overlying synthesizers make the rhythm multi-faceted – together with murmured vocals that add to the sinister feeling you get whilst listening to it. It is a somewhat catchy song that draws in a self-assuring vibe in terms of how bombastic everything gets after a while.

Even though it is repetetive in some parts, the soundscape itself morphs into something completely different the longer in it progresses. The chorus brings everything together into the theme of the whole song and what it is supposed to be and convey. It is a cold endeavour but at the same time it is not stripped of any emotions, as there is a whole palette of different feelings that you feel when listening to it. I feel alert, concentrated and inspired, on the edge tuning in.

If the first song was portrayed as anthemic, wait until you hear “Power Fantasy” – which starts with an off-putting “yoo-hoo“, to be smashed into your consciousness by one of the most perfect rhythms I’ve heard in this wave of new-body music. Everything about this song relies on the first synthesizer-rhythm and the percussive elements that are introduced. To add to the general heftiness of the song itself, the vocals together with additional basedrums create an enjoyable repetetive atmosphere which later on looms into a more atmospheric concentration of industrialized sound.

The sudden shrieking of the vocalist reapplies the stripped soundscape and reuses it to their heart’s content. Even after only having listened to the first two songs, one must say that this one – “Power Fantasy” – is something really special. Whether it is the retro industrial feeling that weighs in when all the beats collide, or if it is their special brand of it, is hard to say. But damn it is a really catchy song and even though the lyrical content might be unintelligible at times – the simpleness of it adds into the harsh emotional deliverance – which they manage to do perfectly. It is a jaw-droppingly good song, once you’ve listened through it way too many times.

Now with the next and third song on this release, it is less concentrated to harsh rhythms and electronic body music and more pure electronica with minimal synth weaved into it – I am, of course, talking about “Luxury Boys“. There’s a certain primitive vibe to the song even though the synthesizers, baselines and beats together concoct a swaying and interesting blend of these different forms of electronica. It feels dated, like something out of a time-machine, yet remarkably attached to the modern world as such. However, it would fit great in an alternative movie from the 1980’s.

At times the atmosphere feels like something exotic, especially when you hear the percussion and the main synthesizer which steadfastly creates a memorable thematic, which you end up portraying in your head. It is audio-visually a really great song, however I’m more impressed by the harsher side of Multiple Man. Though they’ve managed to, in their song, convey a more laidback alter ego – musically.

Skin” – their fourth song – has that same kind of feeling attached to it like the previous song. It seems like they’ve changed the general theme of their songs, as it progresses from the first and second, to the third and the fourth. It develops lyrically as well and becomes some kind of acid electronic bastard child of industrial music. When the synthesizer revs up to show its true acid colors – one is intrigued by it since it adds a whole different characteristic to the song itself – alongside the vocals that are unenthusiastically chanted and feel like they’re just being dragged along for the ride.

It is probably one of the songs up until now that have the best vocals in them. It adds so much more to the experience of listening to the song as well as the development of the soundscape as it accompanies the different influences and rhythms perfectly together. Though it might be added that the song in itself is impressive in many ways, it fails to attract any further emotions when listening to it, as it is only brought out when everything is brought together in an almost cataclysmic fashion.

Returning to the pure electronic body music with the fifth song “Negative Space” – an ominously sounding piece. A continously pounding rhythm attached to a gloomy atmosphere, feeling more like an intermission then anything else. One can’t help but feel left to the metaphorical clock ticking in the form of outdrawn synth-stabs. Somehow the electronic body music elements are of not the same importance as the more atmospheric aspects of this song. The continuity is what defines it all. It just keeps going.

Maybe this might be the dividing line that will shift the musical focus to something else or it may just be a filler for the filler’s sake. Usually, artists and bands have one of these kinds of tracks in their repertoir, in the case of Multiple Man – this song stands out from their others and in a positive manner as well. Reminding oneself about the shifting character of their sound and what they might be able to accomplish, and want to accomplish with their music.

Hotter Then Hell” is the sixth song on this neverending ride of different, excitingly fresh electronic body music with industrial vibes. This song is probably the most sublime of the bunch so far, it has got a really ambiguous vibe to it. One negative thing about it is that it is also the most boring song in terms of the soundscape, as there’s not much happening and it is not as upbeat as the other tracks. Nothing wrong with a downbeat track but this one doesn’t really cut it for me.

Ideal Self” is where it is at. It’s been tried with the other songs but it has got a funkier vibe then the other ones. The atmosphere is really wicked and the rhythm goes up and down like a jojo, embracing the more danceable elements and turning it around for them now later on in this release. It is really all about combining the more unusual genres and turning it into the new face of the Multiple Man that makes it or breaks it in terms of this song. Groovy is what characterize this musical experience the best.

Interestingly enough, as the song fades out and turns into “New Metal” – they’ve decided to put this title-track last on the record. Really a perfect summarization of what they have achieved during this eight-track long release. Even though it lacks everything that made the first few songs great it combines everything one’s heard so far into a mixture of the weirdness and the high energy electronic body music into an acid and industrial rollercoaster which holds up in the end.

I say that only because the rhythms are on point and this song is basically what you should’ve listened to first if you wanted a summary. My thoughts about this full-length debut-LP on DKA Records is that it brings something odd to the table and spins things around completely out of your own safe-zone. You must have taken a liking for electronic body music transgressing into all kinds of different music genres, plus the experimental edge in which Multiple Man hold their territory firm. Although some of the songs are a disappointment, not all of them need to be as good as “Power Fantasy” to hold up in the end. The more you listen to it, the more you enjoy the self-willed nature of this duo.

Tomorrow this article will be updated with a track-by-track review of Strategies Against The Body Volume 2. You can stream Multiple Man’s release “New Metal” down below and make up your own mind about it, but from what I’ve heard throughout the songs – they’ve surely got potential that enrich the DKA Records discography further.

strategiesagainsthebody
A follow-up to the 2015 compilation “Strategies Against The Body – Volume 1” have been released via DKA Records. Featuring a whole different roster of artists, containing various electronic genres, all derived from the so-called underground. Some of them more established then others. The cover for the release is very aesthetically unpleasant to lay one’s eyes on but is a reflection of what you can anticipate when listening through this compilation of artists.

Pyramid Club is the first artist and one must say that they’ve got a whole lot better songs then this one. It’s a freakishly monotonous song that doesn’t really cut it. One doesn’t really feel anything when listening to their song “It’s All Grey” – the atmosphere that is there is off-putting and doesn’t do them justice in terms of their discography, otherwise. What saves this song is the latter part of it beyond three minutes in, when the vocals go into a howling frenzy and the basedrum lunge at you as if it had gone berserk.

I really want to like this song but can’t really fathom it. Melodically it is odious and it doesn’t even give the tag ‘experimental‘ body music any revitalization. Repetetiveness and experimentalism can give you a whole other insight into what electronic music ultimately could be about – but here they just fall flat with their brand of it. Very unfortunate for anyone who’s fond of Pyramid Club’s current discography of demo-tracks with lots of potential.

Now on to Passing, who’s song “Sacrifice” starts off rather intriguingly with that bass-filled melodious atmosphere which bounce around in infinity together with acid influences as rambunctious electronica pushed to its limits. Then, suddenly, the vocals are introduced into the mix and one is instantly taken out of the mesmerizing sound – because they lack the punch and the guts which the rest of the soundscape perfectly molds into – overtime. It adds absolutely nothing that progresses the atmosphere even remotely. It would even be better if it was wholly instrumental instead, unfortunately.

All-in-all, the song itself has one hooked to the beats, rhythm and melodious extravagance. There’s a sense of emergency in the overall expression it gives, the fast-paced lunging, acidic body music with electronic overtones – masterfully executed, instrumentally at least. It’s got the perfect length as well and you can never get enough of the simple melodies that together make something out of nothing, adding complexity together with the percussion.

What never tires me is the special kind of desperate brand of electronic body music that Celldöd creates. He can make something out of nothing, it sounds huge no matter what he attaches himself to and the atmospheric feel of “Hemliga Rum” is made alarmingly brutal with his vocals alone. A hiss here and a hiss there, a steady acid rhythm with a baseline that seems to get harder the further into the song you get – the echoes of the vocals, making one uneasy listening to the song – all that is there, in the vast nothingness that he portrays – follow him into the secret room.

Imagining that it would be some kind of abandoned house or industrial setting, together with the lyrics in Swedish repeatedly saying “Take me with you, I want to see what you see, into secret rooms“, as if he is desperately clinging on to something – the deliverance is absolutely on point and adds much as the snaredrum hit is industrially enhanced by sounding like he’s hitting on a metal object – which in reality, maybe he is. It adds that extra portion of the atmosphere which would otherwise be lacking. In the end a very good song which leaves nothing to imagine, audiovisually he puts images in ones head.

Continuing in basically the same manner as the other songs, a kind of acid-inspired baseline together with melodic noises, Spatial Relation‘s song “Infinitely Wary” is now playing. I don’t really know what to say about Lissette Schoenly’s vocals – but it fits very well into the atmosphere created by the synthesizers and percussive elements – though it really does nothing for me while listening to it. I feel no emotions, it just feels like one has to get through it to get on with listening to the rest of the compilation. This brand of electronica hasn’t really gotten me interested, which is a shame, since they repeat what Pyramid Club did with their introductory song to this whole compilation.

When one has listened through the song a few more times, one finds it to be somewhat alluring – though it can’t be explained, really. There’s something avant-garde about the approach to the whole song and how they utilize the different elements of it, how it gradually progresses and how it finishes. There’s a little redemption in the form of the atmosphere as it grabs onto you in a weird way, the electro-vibe and all, which is odd to say the least but hey.

One of my favorite projects since “The Red Dress – Parts I/II“, James Andrew’s own Tifaret, is featured on this compilation as the fifth track in a total of ten. The song “Lara” interesingly enough sounds like “Keep On Driving” (one of his other songs) – the difference is if Andrew Eldritch had a son, James Andrew would be his. Their vocals are really alike and one feels like he’s drawn a little bit too much inspiration in his song-making from The Sisters Of Mercy’s front-man. It is, however, not pastiche – the atmosphere is nice and the beats are on point.

Melodically it must’ve drawn influence from his earlier song but it doesn’t really matter. This is one of the better songs I’ve heard on this compilation up until now. Hopefully this is the one that turns it around and introduces one to some equally as great songs. It should be released simultaneously as this song, as it feels like a variant and lies really close in the whole soundscape and if it weren’t for the different melodies, more emotional vocals, it would almost be identical.

Suddenly, awestricken, in a good way. Anticipation flies into your ears with that subliminal, brooding electronic body music that has a groove like no other – talking of course about the song “Photograph” – which together with samples and a rhythm out of this world is gradually making one reconsider what one’s written about the compilation in general. Now we’re talking about some serious electronic music, whose atmosphere makes one dance along to it and is catchy as no other song – currently on this compilation.

One does not mind the repetetiveness of the beats as it slowly develops over time, introducing small but noticeable changes in character which enhances the whole experience of listening to it. The continually pounding sub-baseline pushes the beats further into the forefront of the mix – and there’s never a dull moment listening to this song. Thankfully, maybe there’s still hope for the compilation in large as we proceed.

SinceGhoul” was released in 2016, Videograve have been out of the loop. Now they’re back, on this compilation. The melodies in their song “Dead Men Floating” are equally as sinister as the title of it. They’ve let the melodies be at the forefront of the atmosphere and the beats plus percussion in the back, giving off a resounding and reverberated no-nonsense sound. Videograve are one of the more interesting acts that have emerged the last few years when it comes to electronic music. They have an authentic and goddamn awesome sound. Electronic body music gone haywire, electronic body music developed from a general minimal electronics waypath – never straying away from originality.

This is my favorite song so far on this compilation. I’m very impressed in general. There’s nothing to complain about, it is a really enjoyable song to listen to and there are so many facets of it that you’ve stopped counting. They really portray a sinister picture – a rather picturesque one if one may say so – audio-visually aesthetically pleasing, if that makes any sense at all.

Now for something a lot different. Collin Gorman Weiland’s song “Indenture and Stone” – monotonous industrial techno, with minimal wave influences. A very bleak song in terms of the atmosphere, very heavy when it comes to the industrial side of it and something that brings forth a whole different sound on this compilation. It is noticeable that the end is near whilst listening to it, the very apathetic vocals and the grinding percussion that seem to have no end to it. Draining energy from every outlet where there’s even sound.

There’s an anti-upbeatness to the song, it is downtempo but tries hard to be upbeat. Looming on as if nothing ever mattered, ending rather beautifully and very unexpectedly – turning into an ambient piece that gives one inner peace while listening to it. A welcoming addition to an otherwise interesting and never-ending seance. Had the latter parts of the song been developed even further, there might’ve been a nice blend of ambient industrial and the harshness of the song itself.

Ninth song on the compilation is by ARIISK and is titled “Candid Machine” – which is one of those songs that never develop into anything. It would’ve been better if it had some progression worth to mention. All this experimental electronic body music is making one’s head spin. There’s nothing about the monotonous approach in rhythm that gives anything, it just feels like a piece that is stuck in the same rhythm and melody without ever ending or transforming into anything good.

There’s a continuous lack in the atmosphere itself that isn’t repaired by the beats nor the progression of the song itself. Not to mention the vocals – it doesn’t add or bring anything out of the atmosphere. Even though this song might be meant to sound dark and provoke some kind of emotion, there isn’t any. It feels like one wants to skip the song and head onto the last one, there’s few moments that attract any noteable attention.

Xander Harris delivers the final song on this compilation, titled “Social Leather“. When pushing play on this song, there’s a wondrous tone coming from the melody. It feels like you’re high above the clouds, or that you’re way out of your body and somewhere else. It has a dreamy touch to it and the vocals expand on that subject. There’s an electro-vibe to it vocally and the atmosphere is absolutely phenomenal. There’s a transgression between different electronic genres that he executes flawlessly.

Being the final song on this release, it makes up for other moments experienced while listening to the compilation. One must say, to DKA Record’s credit, that it is a compilation that has some kind of sense of purpose when it comes to the assortment of different artists – too bad that it doesn’t go the whole way in terms of how good that, in theory, should be. I must recommend it any way, because there are certain moments on this release that are enticing. Stream the full release down below on Soundcloud.

Premiär: Æmɨt teaser, spelning på Under Bron den 9/3

aemit

Under hemlighetsfullhetens fana, nåja, åtminstone i ljudväg – har Æmɨt skapats – sprungen ur eller åtminstone inspirerade av uråldrig Egyptisk mytologi (läs: Ammit), och med fanbärarna Jonas Fredriksson (ALVAR), Erik Söderberg (Kinder aus Asbest) och Jimmy Svensson (Yabibo Hazurfa/Slusk), så blir deras gemensamma insats monumental på enbart tre minuter. Det de levererar är motståndskraftig industriell techno med fokus på en trollbindande slags atmosfärisk industriell musik, där mystiska syntslingor drabbar samman med rungande bastrummor – som blir en hetlevrad men återhållsam kombination. Det måste påpekas att det förmodligen är såhär det skulle låta när dessa män låter sina alter ego formas till ett – på pricken.

Musiken har en trollbindande rytm och en säregen karaktär. Ljudlandskapet har en röd tråd man kan hänga med i och den är väldigt dansvänlig. Estetiken är mörk som den borde vara, vilket ger en sammanhängande känsla i sig då det även påminner en om att detta gemensamma projekt drar i flera trådar samtidigt – eftersom att man lyckas vara både musikaliskt och estetiskt tilltalande – detta hade varit något som hade kunnat släppas på Beläten om den etiketten fortfarande hade varit i bruk. Rent produktionsmässigt är det ingenting som fallerar heller, alla små nyanser som bidrar till musikens helhet kan skönjas. Från minsta underliggande slaginstrument till knastret och bruset som understödjer det atmosfäriska och brutalt undersköna.

underbronniondeitredje

På torsdag i nästa vecka intar de scenen på Under Bron i Stockholm (Skanstull, gratis entré) (ALVAR presenterar) med sin första livespelning någonsin, tillsammans med en utvald skara av artister och DJ’s. Mellan 17:00 och 03:00 så kan man även se Celldöd och Dissociō Modus Trāns live – medan de som DJ:ar kommer att vara Mattias Anger (Complete Control Productions, Kollaps Records) och Daniel Jonasson (Covenant, S.A.W.).

Man kan hittills bara lyssna till ett smakprov av vad som komma skall, men det som ni kommer att få höra kommer att sätta sig i hjärnbarken omgående – vilket lindrar ens begär för fullständiga låtar, någorlunda. Lyssna här nedanför via Soundcloud.

Lyssna: Colouroid / Baula

flexiwave

Det tjugonde släppet signerat FlexiWave är Colouroid. Snabb, rytmisk minimalistisk synth-pop som med hjälp av sin avskalade ljudbild levererar ett helt annat Colouroid än vad man är van vid. Melodierna är starka och får ett helt annat mervärde tillsammans med en rätt dyster sång. Märkligt nog är det mer märkbart på A-sidan av denna vinyl, med låten “HHH” som får äran att ge sinnebilden av något mörkare än vad det egentligen tillåts vara av melodierna som i vissa avseenden ger en mer harmonisk ljudbild. En dansant låt som är paradoxal i sitt utförande men helt klart ett välkommet tillägg i en annars mer experimentell diskografi. Förutom att bägge låtar visar Colouroid från sin bästa sida, så måste det sägas att “Shove” är den bästa låten på denna sjua.

Låten, som är B-Sidan av detta släpp, har en mörkare och mer rave-aktig karaktär. Den kontinuerliga och snabba rytm som i kombination med än mer avskalad sång – gör en smått nostalgisk och får en att blicka tillbaka till det, man från 90-talet, har lyssnat på i elektronisk musikväg – är precis det man förväntar sig från det som är legio av en B-sida. Samtidigt som de lägger in sina egna influenser i denna udda blandning, får det en att inse styrkorna med både det simpla och det mer komplexa i detta tvålåtarssläpp. Hur man lyckas att pricka av så mycket med bara två välkomponerade låtar är ett mysterium. Men det man får till sig av att lyssna på detta är ett litet äventyr i sig och de hänger samman, vilket gör att det finns en röd tråd genom allt ändå, trots allt. Lyssna till bägge låtar här nedanför.

baula

Halvt isländskt, halvt Göteborgskt eller kanske svenskt? Vem hade kunnat ana att denna kombination kunnat ge något så känslosamt. Med låten “Just Like Yesterday” bockar de av det mest estetiska med indie-rock och indie-pop i ett – det härliga med denna duo är att utrymmet för dåliga klichéer inte får plats någonstans – de eliminerar det totalt med en ständig virvel av olika rytmer, utdragna riff och sångerskans undersköna röst. Man ger ett enkelt budskap som lyssnaren tar till sig per automatik tack vare att de lyckats få in så mycket i en låt – även om lyriken till låten inte är det mest avancerade så levererar de ändå. Det är något med helheten i musiken som gör att man kan bli lite tårögd.

Äntligen kan man få någonting som drar inspiration överallt ifrån men som ändå har tagit in något eget. En monstruös ballad som skär djupare in i ens medvetande än vad man anar, man kan lyssna hur många gånger som helst och ändå bli hänförd. Tacksamheten har inga gränser när man får det här i sin mejlbox – eftersom att atmosfären i den låt man fått till sig, påminner en om så många händelser som måhända har varit åt helvete – men som man på något sätt släpper ifrån sig genom att lyssna till denna låt. Balsam för själen har inte kommit enklare för en själv. Det är något med melodierna som ständigt utvecklas och hur det känns rock’n’roll som in i självaste helvete – när till och med detta känns så surrealistiskt i-ditt-ansikte och provokativt på så sätt att det icke-slentrianmässigt vackra måste beundras.

Nej, jag vet inte riktigt hur jag ska formulera mig mer, men denna låt har påverkat mig på ett helt annat plan än vad merparten av den musik jag lyssnat igenom har gjort. Är inte särskilt engagerad när det kommer till dessa genrer, men det här har fått mig att engagera mig mer och lyssna till vilket budskap som levereras och hur det rent musikaliska får en att med sina fingertoppar skriva fortare än någonsin, enbart för att kunna dela med sig av detta underverk. Lyssna till låten här nedanför.

Exclusive Premiere: Fragrance. – Dust & Disorders EP

fra-dus-cover

There is something charming about Fragrance. – a new and emerging synth-pop artist from France – the solo-project of Matthieu Roche. Not only with the songs he’s produced that we’re exclusively premiering here via Repartiseraren, but also the beauty in the artwork itself for his debut-EP release “Dust & Disorders EP“. It is brave of him as a frenchman to make use of the english language as a vocalist. The result is an emotional trip which takes you from dreamy atmospheres, to bombastic synthesizers coupled with hard bass drums and an almost classical touch in between everything.

One could find some of his broken english to be something that would stop one from listening to the music, but frankly it doesn’t matter. There’s a certain beauty to all the instruments that are applied throughout the songs. No matter what you think about it, one can’t deny that the general theme and thought behind the tracks resonate within, as there’s an lure – it has a red line going throughout, the songs very much pick up where the other one left off.

This is far from ugliness, part of a french synth-pop tradition which is very likeable. The melodies are haunting, the choruses build up an expectation that is then fulfilled in the end. At times the songs get overwhelmingly emotional even for Repartiseraren. Here are five chansons which shouldn’t be left unlistened to. An exclusive premiere granted to us and we’re thankful to be premiering the EP in its entirety here on our independent and underground webzine. Enjoy the sounds that portray a picturesque and emotionally fulfilling trip from everyday life – yet taken from one’s everyday life.

When it comes to the audiovisual experience, we’re very fond of the song titled “Lust For Lights” – here made into a lyric-video. It’s a bit darker then the other songs, and it builds up to be a great song in general, with beautiful bridges and a constant tempo that has instruments added to it and a palette of space and strobelights are the main ingredients of the video itself. A simple but nicely made video.

The release was mastered by Hélène de Thoury at Synth Religion, the marvelous artwork and photography was created by Atelier Belle Lurette. The music itself was composed, written and mixed by Matthieu Roche. You can find him and his music over at FB, SC, YT and BC.

Review: Various Artists – Tag Und Nacht II

boom

Various Artists – Tag Und Nacht II – (Total Black 70)

Tag Und Nacht II is the second compilation that’s been released on and by the Berlinian label Total Black. Representing industrial culture from Berlin and what it has spawned, musically. It is a selection of some of the murkiest, darkest, experimental industrial music that we’ve heard in a while. Starting off with Stark Jorgensen’s (ASCETIC:) solo-project Halv Dröm and the track “Spirabilis VII“.

It’s like threading through a vast landscape, in the night, that’s been bombarded with snow overnight. Something’s lurking in the shadow of the trees right beside you, as the sounds intensify and the noise gets more high-pitched. There’s a constant atmosphere with this song that never really changes, it just pulsates on and on as if it were a part of you – your heart. Moving ever so fast through the snow and avoiding the parts of nature not yet trodden by humans. The more you get into it, the more the noise overshadows and the less picturesque of a landscape of sound there is. The song comes to a halt after five minutes of constant audiovisual terror, wearing off and going into the quiet abyss.

The rhythm goes berserk – “Human Diversity” by Edema Intravenosa is hauled at you, with in-your-face distorted vocals and continuous beat of the drum – this is about as noisy as techno can be. The atmosphere of the song is both claustrophobic and enigmatic, the bass drum is deformed and goes well with the snaredrum and other instruments used. For this song to really shine is when the chorus – or what can be seen as one – comes tumbling in with synthesizers that make the soundscape even sharper. It cuts like a knife to hear the screeching vocals coupled with something that could be reminiscent of electronic body music and electro, and it overlaps the monotonous rhythm, making it even more powerful then it was in the first place. The developing nature of the track is what makes it exciting, and frightening of course, to listen to.

I must admit that I haven’t listened much to Operant (Luna of Instruments Of Discipline, plus August from ASCETIC:), but their song “Mistaken For A Piece Of Thyroid” is as bold as it is noisy, and even though it is a bit slow at the start, it builds up to one of the most massive atmospheres I’ve ever heard in a techno song. Drawing from both the industrial side of it and the minimalistic techno, charging at you with noise at spearpoint. The more Luna’s distorted vocals are present, the more it changes and then ramps up to be a really aggressive and tumultous song. Half-way in you find yourself lost in the different moods it goes through, and every influence they’ve decided to put into it, pays off in the end. A very powerful and intimidating song, just as it should be when it comes to these genres, according to Repartiseraren.

Josef Gaard (Nathan Levenson) is next with his song “Compline” – a more cautious song – but with a strong atmosphere that is both in the foreground and background. When you think the bass drum is going to move into a steady, straight-forward techno-rhythm – it suddenly drifts away into a more unorthodox rhythm. There’s also a pinch of acid thrown into the mix, alongside a wandering industrialized soundscape. Even though there’s almost a constant rhythm, it suddenly goes heavy on the bass and floats out into a unwavering and bombastic atmosphere of sound – making the listening experience even more enjoyable. The way he crafts and pairs these noises, rhythms and constructs a whole world of his own is impressive. A really great track when it comes to everything – there’s really nothing that can strike this one down.

AVM (/ϟ/HUREN/ϟ/ + BLUSH_RESPONSE) also have a place on this, up until now, formidable compilation, with their track “Flesh Riot“. When paired together, the pounding bass drum and fierce rhythms are tweaked until they become the crazy abomination in sound one could expect from such a collaboration. It’s not really that interesting in general as I prefer them as their separate alter-egos, but it is interesting how they’ve managed to create such firm sounds and the only thing one wants is to get away from it. It is menacing to say the least and it gets even heavier and more intense the further in one gets. Sounds tweaked beyond the imaginable, noises to the left and right, forceful industrial techno with regards to nothing and no-one. A constant bombardment of the senses – a constant plague that could drive one insane.

Now here’s a rhythm to dig – Entertainment is the artist – “Club 2020” the song. The minimalism is superb and the thing which grabs a hold of one is the tempramental rhythm. It’s one of those songs that you wouldn’t expect to be where it is and end up somewhere totally different. The eccentric nature of the track is wondrous in its own right even though the samplings tell a different tale – a noisier and more mystical one. A good song on its own and where the compilation itself changes into something different.

MRTVI enter the picture, with the song “Anul Útlimum” – a really odd and experimental vaguely industrial one. There’s more of a classic techno vibe to it and the minimalism in its core slowly proceeds into a secretive atmosphere. As with “Club 2020“, a really short but comprehensive song. It’s a bit everywhere but at the same time caught in a maelstrom of consistent sounds. Creating a bit of a hazy and rhythmic venture which we feel obliged to follow. At the same time that it is unnerving, there’s also a bit of it that is oddly relaxing – as it moves in its own pace and never ceases to stray away  from that straight line – which is: going forward, steadily ahead.

Now here’s the final song on this release, by and of Commercial Tower, titled “Asphalt Animism“. A long-running and ambitious track which paints a really bleak picture. You could call it anti-picturesque, and as the name foretells – there’s an edge to it which can knock you out in seconds – after entering the latter parts of the song. The noises are out of control and smacks you in the head, one after one. Even though it is my least favorite of all the songs on this release, it the brutality one would expect from such a compilation as this one. It just feels like it goes on and on, treading into such monotony. Even after having listened to it a few times, I still can’t get into it. However, to conclude everything: “Tag Und Nacht II” is available cheaply digitally and is a good representation of Berlinian underground industrial, experimental, noise, and techno music. The release was mastered by Frederic Arbour at Cyclic Law. You can stream and buy it via Bandcamp, down below.

Review: Hanchi – The Fabulous Pain

20170109_203518

Thoughtful. It is not easy to describe, but each passage is haunting, looming experimental techno left to its own device – creating with “Scottish Fiancée” – a powerful and haunting experience. There is something intimate about it, but also something that rejects – in other words a paradoxical experience, to say the least. Venturing from the bleakest experiences imaginable in sound, to the more humble and concentrated atmospheres that can be heard throughout. As it slowly builds up and creates a rhythm, you’re invited into a determined soundscape that goes through the frost outside, inviting the cold into your living-space. There’s still, however, that distance between you and what you’re currently consuming, sound-wise. Nothing beats the steady rhythm and a time to dream up picturesque, yet horrific scenes in your own mind. It is a great, ever unfolding, mysterious track. 

Unicorn” is where it gets slightly more aggressive in terms of sound. It feels as if you’re locked away in a dungeon, left with little to no hope. Consumed by feelings of despair, chained and imprisoned. As the weather intensifies and the rain comes pouring down, I must say that Aubry Schaefer’s skills in sound development is becoming slightly more frightening by the minute, especially when listening to this song. It is nowhere near what you would imagine from the title of the song itself. Somewhere near the middle of the song it feels like hope can be found, there’s an escape from all this misery, hopefully it doesn’t end in tragedy – as the sounds intensify, with white noise coming closer and it slowly fading out as the atmosphere is flattened out.

20170109_203530

I don’t know what to make of the title “Christian Kaboom“, but it has a medieval style to it and a harsh electronic sound laid upon a steady rhythm. It is probably the most rhythmical song on this release and it takes oneself into a whole other place and time. The atmosphere keeps getting more and more intense – and I admire the sounds that are creatively strewn across the whole sound-scape. The rhythm itself creates a marching sound which is increasingly becoming louder and louder, more and more steadfast – until a horn sounds off and the atmosphere calmens, as if covered by sand or in deep snow. There are resounding pieces of instruments which makes it, for twenty to thirty seconds, into a serene melody. When it fades, the rhythm is bombastically recanted and heavily fortified with bassier sounds. Like the other tracks, it too fades out into nothingness, albeit it being as if it goes away in one or two seconds, faster.

Missing Black Seagull” is not that interesting of a track even though a lot of the atmosphere is shrouded in mysterious sounds, it doesn’t manage to have the same impact on oneself as the other ones had. This feels more like “more of the same“, unfortunately. Though it had some potential towards the end, it is uninspiring to say the least but it is fittingly the last song of this release so it doesn’t matter as much. All in all it’s a good release with interesting takes on techno. It feels different and Aubry Schaefer is great at modeling the different sounds one hears when listening through the release. The mastering is also on point, as it makes the different elements and sounds noticeable and part of the whole atmosphere.

It was mastered and cut to vinyl by Lewis Hopkins at Stardelta Mastering. The suggestive artwork was created by Marie De Cuir. You can stream the release in its entirety via Bandcamp and you can also buy the vinyl via the Algebra of Need bandcamp.

Exclusive Premiere: Soggy Creep -Shallow Drownings

shallow-drownings-cover

It’s unbelievable that it has already gone two years since covering their first EP, and now Soggy Creep have returned – just to leave us as quick as they showed up with new material – “Shallow Drownings” is their final release, featuring three years of written music, like a mini-cosmos of their own. Due to mental health issues the band have decided to call it quits, which is saddening to hear since their grungy and gloomy post-punk, punk carries the perfect melodic and lyrical content to give them that original edge.

But enough moping, let’s get to the music at hand. Their first song “Folie á deux” has a wonderful baseline that carries the vocalists voice perfectly, alongside a drummer who gives that extra rhythm – the hi-hat is insane at times and the lyrics are those of ultimate despair, I mean, one can barely get past: “when our lives are extinguished, we seek only silence” without it giving you the chills, down to the bone. The riffs from the guitar are heavy but simultaneously melodious and to sum it up – it is a perfect first song of a, right now at least, promising album.

Then comesForgotten Skin” and here is where it is extremely obvious how entagled with grunge they are. From there it only gets faster and faster, then guns blazing, the punkiness of Soggy Creep crawls out of the soundscape – just to be toned down at the end, slowly fading out into a screeching halt – as if someone abruptly stopped the machine from going any further. The song clocks in at two minutes and a half, but it feels like it goes on forever and ever, and there’s a real likeability about the blend of different genres.

shallow-drownings-backShallow Drownings“, here come the title-track, is more of a down-tempo almost a bit sludge rock-ish kind of song. A hangman’s ballad, tightening the noose just a little bit more before entering a world of despair. The drums are really what catches the ear, they are tireless when it comes to the groove – but the rest of the atmosphere isn’t really anything that gives. Surprisingly, the bass catches up by the end and delivers – totally on point and then after that, the transition to the other song goes smoothly.

Bang! Here comes the B-Side and it is one of my favorite songs, titled: “Eradicated Man“, it really gives that carelessness a face. This is an apocalyptic song through and through, carrying that rock’n’roll flame that quickly fade into grunge by the least wink – when the chorus hits like a clockwork – all parts perfectly assembled and the clock is ticking because time’s running out, it’s almost up. What’s great about the latter parts of this song is that the guitars make it, at least for a couple of ten to twenty seconds, into a dark punk song – it really almost sounds a bit gothic, but here’s where the ‘gloomy punk‘ must’ve been given a place, in this song at least.

Invite/Unfold/Exhaust” is gargantuan melodically. However, I feel like the vocalist is kind of out of place in many segments of the song, he only finds his right in the chorus where the melodies coincide into a wonderful mix of wickedness, and this passage is especially great, lyrically: “fear alone, could make the world turn round, nemesis knocking all the while“. The song becomes so damn hefty near the end of it, as the riffs become more ingenious and are perfectly coupled with one another to bring it to the final halt. Wow, a really, really great song which leaves nothing to the imagination, it is easy to follow through because of the general atmosphere of it, and how it is mesmerizing as hell.

The final song is really the darkest one when it comes to the lyrical content, as it goes: “there’s no rope here, for when the bottom gives away“. It really summarizes the whole meaning of “Shallow Drownings” – here’s where the sickness has spread through the whole mind and body. When it comes to the music, it is not as interesting as the previous songs on this release, but lyrically it serves its’ purpose as a final song. It is too bad that Soggy Creep have managed to put all this effort, throughout the years, into this album – just to quit – but at the same time it is the “perfect” goodbye, if one can even say it like that since the reasoning behind it is dismal, but they’ve outdone themselves and generally speaking – this is an album that Repartiseraren recommends. Stream it down below, exclusively.

The album was recorded on the 15th to 16th of August by Joey Seward at Left Field Recordings in Shelton, WA. Mastered by Carl Saff, photographies taken by David Hoekje (Spitting Image), layout by David Olgarsson (Hemgraven). Originally intended as a co-release (12¨/CS) by Soggy Creep and Conditions Records, now instead available via Repartiseraren for exclusive streaming.

shallow-drownings-lyric-sheet