Grabbarna från Knifven har tidigare släppt ifrån sig otroligt bra alster i musikväg, de började sin bana på Gaphals via sin första singel-ep Vaccinet/Galtbrottet. Så nu har de kokat ihop ytterligare något i samma format som förmodligen kommer att klå den förra, nämligen en ep vid namn Perstorp/Kliniken. De lirar en blandning av syndig rock och någorlunda melodisk punk, med emfas på just melodier, mig veterligen. Hur som helst så fungerar detta väldigt bra och mina öron var fullständigt överväldigade av spåret som jag lyssnat på från den uppkommande epn. Därför tänker jag dela med mig av den till er och hoppas därför att ni kommer att tycka om den. Plattan går att förbeställa via Gaphals på deras bandcamp, och det kan man göra här.
Eftersom att ni redan tillgodosett ert tidigare behov fyller jag på det ytterligare. Därför bjuder jag och Gaphals, i ett unikt samarbete, på ytterligare ett vrålåk rent musikaliskt för era öron. Njut av deras låt Perstorp från den uppkommande epn.
It came with an awfully industrial-looking piece of wooden goodness which looks like a gearwheel. A nice touch to an otherwise boring and bland universe of different CD’s and Vinyls. I now understand why the label specializes in packaging more than anything else, because it adds up to an otherwise pretty forgotten dimension. The uniqueness of this addition can be felt when you’re holding it in your hand and when you get to see the wonderful mechanism, where you can “scroll” the gearwheel up and down in a range of motion that gearwheels do when they’re included in a whole system. I don’t know if that was intentional or not, but it was fun to do it for a while and after I’ve loosened the bolt a little bit, a wonderful 7-inch fell into my hands and was ready to play in my vinyl-player. Also, the fact that it’s a cogwheel that you spin around instead of opening it with a screwdriver, adds another nice touch to the experience that is both listening to it and seeing the package opening before you. Hopefully this will serve as a catalyst for other labels, to do the same thing, because if they did people would be all over the place to buy from you.
En kaskad av fantastiska elektroniska slingor och drömsk sång är någonting som kan beskriva Niels Nielsen lite närmare. Nästan lik en svensk version av Ladytron, men med en viss indiekänsla i behåll. Bandet som består utav Niels Nielsen, Henric Bellinger och Anders Risenstrand har nyligen släppt denna video som på ett vis kan tjäna som en ingång till deras singel “Shadow Twin 7¨” som släpps senare i höst, närmare bestämt den 19:e Oktober.
Det känns som att det gladlynta och drömska hela tiden befinner sig i ett gränsområde till ett äkta vemod. Så missa för allt i världen inte detta band då det uppträder den 29:e September i Norrköping på Domteatern. Ni kan även slänga er över pre-order redan nu om ni vill ha denna vinyl i era ägor, vilket jag skulle vilja rekommendera. Eftersom att detta släpp fyller upp ett visst tomrum, så är det befogat.
Därför tänkte jag även streama låten Shadow Twin här på bloggen för er som är sugna på det. Klicka nedanför och njut.
Riddarna är en trio bestående av Edward Forslund, Patrik Jakubowski och Erik Dahlström. De lirar en färsk blandning av både alternativ 90-talsrock med 60-talets psykedeliska influenser. Eftersom att deras musik både låter väldigt bra och känns nyskapande så bestämde jag mig för att försöka hosta upp några låtar innan folk hade börjat slänga sig över pre-order knappen för albumet. Jag valde noga ut de låtar från albumet som jag personligen tycker är bäst och framkallar det “värsta” känslosvallet. Därför bestämde jag mig för låtarna “Jag har gjort fel” och “Det är dig jag vill ha“, som för mig representerar den variation jag hört från albumet men även den intensitet som existerar inom deras musik.
Så jag tycker att ni borde slänga er över pre-order knappen här borta, men samtidigt tycker jag även att ni borde lyssna på dessa två låtar, som streamas exklusivt här på bloggen av mig. Stort tack till Gaphals och till Riddarna för att deras musik är riktigt bra.
Black Box – Fetish #1
Time for some Australian crossover. Another one of those obscure 80’s acts, this release is actually from 1989 to be precise. I downloaded the album from an obscure blog somewhere and got the taste for it directly. Since they only released one single, there’s not much to compare with to be honest. But they’ve got some saxophone groove going on and some general post-punk with noticeable goth rock as a stable ground. I’m a sucker for these more obscure acts that sometimes develop into something really good, but mostly just become a boring blob of re-cycled musical cliches. What’s great about Australia back in those days, were that they seemed to have a lot of unrecognized acts that employed quite an extraordinary field of expertise and a slight touch of ingeniousness, when it came to being experimental within genres like post-punk and goth. I hadn’t really explored the Australian sound of post-punk and goth when I got into it, I just stayed within the normal barriers of recommendations when it came to goth in general and post-punk, peculiarly.
So, there were some kind of barrier for me to overcome when it came to the sound of that country. They had a totally different edge too it and it wasn’t something I was too keen on. Either they were head-on with their sound and had a great vibe, but couldn’t be fitted into the category of post-punk or goth. Or, in my case, they were too experimental and quirky to get into in the first place. Since it took some time to appreciate it, I delved into it and discovered more and more acts. One of them were Black Box, but since they only released one single, it made me care less about them and more about those bands who had at least released a couple of EPs and albums.
What could be said about them? They sounded a lot more like the UK and US acts than anything else, but had a certain influence they seemed to employ within both of the songs on the single. I can’t really explain what it is, but it feels like I’m being drawn to it the more I listen to both of the songs. The first song was called Fetish #1 and had an unorthodox approach to the whole goth and post-punk crossover thing, whereas they had a different setting when it came to the drums and were more in the sphere of The Birthday Party than anything else. But they seem to be more up-tempo than their counterpart and maybe less insane. Normally saxophones and the likes of it fit the post-punk sound-scape perfectly, but I just didn’t know how to react on having a saxophone in a song that had a more gothic undertones than anything else. Somehow all these influences just magically worked together, which is insane when you think about it. I’d say that the second song on the single, titled Poison Shadows, is the more melancholic one. Here you can hear the goth rock influences more overtly than as an undertone or stability to it. It sounds like they’ve gone all-out and carve their way through a more down-tempo environment than the more up-tempo song Fetish #1.
However, you should try to find this single and listen to it more closely. Tune in to it and feel the joy.
I got a mail from this duo, consisting of David Arantes and César Rodrigues. They’d like to notify you all that their latest self-released album RAIA is downloadable for free on their bandcamp. If you didn’t know about this duo, you’ll know it while reading this. They’ve won two prizes on the 2011 Qwartz Electronic Music Awards, crowned in the following categories: “The Best Artist” and “Discovery“, for their digital EP titled Peste.
Since they started out in 2009, they’ve released two EP’s and three albums. A big thank you to Sturqen for liking the work I put into this blog, also a big thank you to them for contacting me about a release of theirs. I like promoting artists that are creative and my main focus have always been to be there for the “little guy“. So do check out all their albums and download their latest album from their Bandcamp.
A preview of the album can be found over here:
Malaria* / Die Hausfrauen – New-York Berlin
I had never ever heard of this album, when I listened to some tracks at YouTube and picked it up virtually. Unfortunately that also meant that the Malaria-side of it was missing and the only side I could listen to was the Die Hausfrauen-side. First, I thought this was some kind of German act or attempt at experimental new-wave, but that wasn’t the case since they sang in american-english dialect and were utterly amazing. So I could see why they would have some interest in Berlin since I think a rough number of experimental acts were prominent there. However, this particular album was a starter for me to get into the more obscure acts of the 80’s. At least when you see it from the cheesy new-wave perspective, whereas this was an act that were new-wave but had a much more no-wave attitude and approach (musically) to the new-wave sound.
Since then, I have discovered a lot of acts that use German names and they’re all pretty good. I don’t believe that I have ever been disappointed with one, and certainly not with those bands that are from the US. Well, let’s talk a little bit more about the album, shall we? The section is divided unequally, leaving Malaria with three tracks which I’m not even going to cover. Because I’m focusing on the Die Hausfrauen part of this album. So, they’ve got five songs on this album consisting of these tracks (in numerical order): Suburban Incest (Harry’s Song), Defunkt Hunk, Midnight Rain, Belevue Affair and She’s My Destruction.
The thing that got me into the music of Die Hausfrauen, more than the name, was the fact that the songs are so varied. Everything from Belevue Affair which is more synth-oriented, to the more overtly “lighter” yet dark song She’s My Destruction which scales down the instruments and make room for quirky, semi-speedy saxophone love amidst the weird sound-scape. To the more catchy and post-punkish song Defunkt Hunk which also uses a lot of saxophone and the likes of it, yet introduces a new set of post-punk meet new-wave funkiness. The song Suburban Incest (Harry’s Song) reminds me a lot of Belevue Affair, but with a more minimalistic and downtempo feeling to it. It’s got some grim lyrics also, which got me hooked right away. Last song Midnight Rain feels almost like the song She’s My Destruction, minus the quirkiness and plus the no-wave touch to it all. It’s maybe not no-wave all the way, but certainly, vocally, supports that thesis wholeheartedly.
And remember! Sometimes the B-Side can kick it too. Do also remember that Vera Beren surely is a revolutionary vocalist in many ways.