Tillbaka är Malmöiterna som legat i när det kommer till sin musik. Om det förra släppet var någonting som låg över skalan som skulle kunna kallas för bra, så är detta på en helt annan nivå. Framförallt när det kommer till närvaro, i tittellåten som även är den första på plattan, nämligen låten “Snubblar fram” så kan man bekanta sig med en helt annan sida av Dalaplan. Om man rent jämförelsevis skulle ställa den föregående singeln bredvid, så skulle den blekna i jämförelse. När allting går igång så är det som om man vrider på plattan för att få värme, som när våren är annalkande och det enda som saknas är sommar. Låten är peppig och fylld av attityd, driven av både punkens mer tempoförhöjande sidor samt garagens mer skramliga rockvendetta. När väl snön har töat bort och människor börjar synas på gatorna igen och de sura minerna istället är glada, så är det något som de sätter fingret på och det är just den underliggande peppen. Måhända att den inte är tänkt att vara säsongsbaserad, men det kanske ligger något i den tematiska följden. I denna låt är de skitigare än någonsin, mer uppskruvade och sist men inte minst – de satsar äntligen allt på ett kort. Istället för att treva i blindo så har de sökt med ljus och lykta efter något passande, där riffen svänger om vartannat och är inbjudande till hundra. Exakt så man hört talas om att de ska vara live, vilket är ännu en skön vändning sedan sist. Niklas sköna och energifyllda röst blir ännu mer levande i ljudlandskapet, där hans skrik är någonting som gör att saker skälver i sitt grundfundament. Dessutom är kören, som mest verkar vara bestående utav Sofie och Jenny, ger även plattan en ytterligare dimension – för att inte tala om den välkomnande atmosfären. Som rent suggestivt, nästan öppet, omfamnar och bjuder in till att röja loss med bandet. För att inte tala om att orgeln som Peter sköter visst har funnit sin plats, då den känns som en naturlig del av helheten, snarare än en börda som det mycket väl kan vara i andra band. Mycket livligt, mycket fartfyllt och bäst av allt; en ursäkt för att fylleskråla i takt till musiken.
En tävling har utlysts av Twist Action Heroes i samarbete med Debaser, där det går att vinna ett särskilt kit med Khoma. Det som kan vinnas är ett specialkit bestående utav en t-shirt, en platta och en signerad affisch om ni kan svara på följande fråga: “Vad heter sistnämnda bands sångare och vad heter hans soloprojekt?“. Maila svaret på denna fråga till denna mailadress, märk mailet med “Khoma” och glöm inte att skriva din adress, så kan just du vinna detta kit. För mer information, besök även tävlingssidan här borta.
I mars gör Khoma tre exklusiva klubbspelningar. I Malmö spelar de på Debaserklubben Beggars Banquet den 9 mars. Detta blir ett av de första framträdandena Khoma gör på två år. Med sig har de Minora från Göteborg som de själva handplockat som supportband.
Sedan starten 2001 har Khoma förenat totalt mörker och melodiskt vemod, emotionella urladdningar och politisk urkraft. Det senaste albumet All erodes släpptes i november och innehåller nio tidigare outgivna låtar från perioden 2002-2010. Albumet utgör en epilog till den kritikerrosade trilogin Tsunami, The second wave och P3-guld-belönade A final storm. All erodes gavs ut i en begränsad upplaga och de få exemplar som finns kvar tar bandet med sig på turnén i vår.
KHOMA – ca. 22.30
Debuten Tsunami släpptes i en limiterad upplaga om 2000 exemplar och år 2005 skrev Khoma kontrakt med Roadrunner Records (Slipknot, Sepultura, Machine Head med flera). Uppföljaren The Second Wave fick gott gensvar och lysande recensioner både hemma i Sverige och ute i Europa. Därpå följde några intima och intensiva konserter, men sedan försvann plötsligt Khoma och det började spekuleras i huruvida bandet fortfarande existerade. 2010 gjorde de dock comeback med sitt tredje album A Final Storm som fick ett makalöst mottagande i svensk press.
2011 fick bandet med låten The Guillotine i David Finchers filmatisering av Stieg Larssons Män som hatar kvinnor, men höll i övrigt en låg profil. Man arbetade för att färdigställa låtar till en limiterad samling med outgivet material från de tre tidigare albumen. Resultatet blev All Erodes som kom hösten 2012. Skivan gavs ut på vinyl och CD, men i en mycket begränsad upplaga och för att till stor del säljas på konserter.
Pressen om All Erodes:
4/5 “En känslobomb som briserar i hjärtat” – Aftonbladet
8/10 “En kulturvårdshandling av rang” – Sweden Rock Magazine
4/5 “Givna följeslagare i höstmörkret” – Västerbottens-Kuriren
“Tät, dynamisk och full av energi” – Zillo Magazine
“Världens kanske främsta fanbärare av vacker melankoli har gjort det igen” – Close-Up Magazine
Inga små ord. Vi vet dock att Khoma kommer att leva upp till varenda stavelse, så vi rekommenderar alla intresserade att komma i tid.
MINORA (support) – ca 21.30
Göteborgsbandet Minora släppte sitt debutalbum Imago 2011. Albumet spelades in i Svenska Grammofonstudion och mixades av David Castillo (Katatonia, Bloodbath, Opeth). Mattias Kling kallar videon till Into the ocean för ”finkänslighetsunderhållning” i Aftonbladets hårdrocksblogg. Handplockade av Khoma ser vi mycket fram emot deras spelning, då detta onekligen borgar för hög kvalitet.
Innan och efter spelningarna står arrangörerna TWIST ACTION HEROES för den inspelade musiken via DJ-utrustningen vilket garanterar feststämningen, dansen och dekadensen! Kommer du innan 21.00 är det inte bara fri entré, utan även halva priset på all mat och dryck. Inte illa!
NÄR: LÖRDAG DEN 9 MARS, 19.00-03.00
PRIS: GRATIS INNAN 21.00, DÄREFTER 90:-
ÅLDER: 20 ÅR
OFFICIELL INFO: http://www.debaser.se/kalender/10534/
Eftersom att Invisible Guy fått äran att spela Dalaplan, så kommer här en låt från deras senaste singel, nämligen “Snubblar Fram“. Vilket är en rätt så stor skillnad från deras senaste alster, då denna är än mer peppig och river haket med sin blotta närvaro. Nu när de fått ta över en stund, här hos oss. Det borde tilläggas att de även är från samma stad vilket inte är fy skam. Kraften i själva låten är knäckande och ni får nog hålla i hatten, för annars kommer den att åka av. Lyssna på låten här nedanför och peppa inför deras uppkommande släpp. De kommer även att ha en releasefest för plattan på Debaser den 2/3.
Lebanon Hanover have a new release, freshly cut and mixed, ready for us on their table. Catering to our strengths and weaknesses, with the first track “Gallowdance” they blend the best minimalism with the overtly dark hemorrhage of cold wave nostalgia. Firstly covering our hands in mud, as you try to reach into their world with your hand. Melancholia is strong in this world, it’s also a conjuration from the abhorrent use of shady riffs and a continuous baseline that rips through the cold gaze of yesteryear. Whilst dancing in a landscape so barren one could almost point a finger in any direction and still see no structures in the near midst, see no hope in front of the two eyes steadily fixating themselves upon what have been. It’s no more and the usage of the Anglo-Saxon language and the German fluttered whispers, you’re on a multidimensional trip, apt for the misanthrope of modernity. One layer of language, to chalk the empty souls and two layers of both minimalism and suggestiveness – what kind of messages are being projected? You can only tell, with fluency in each language, what is what and which is which. It feels like you’re slowly moving out of each layer, stripped of your own security and unmasked in front of the naysayers. Take one step to the side, hear their vocals sip through the cracks of each hole in the house. Feel them coming closer. Everything seems to be what it isn’t, as Lebanon Hanover is the only ones with the cure in a near proximity, you’ll feel hopelessness indulging you and itself. Dissolving into a unity of both man and despair.
Kissing the Pink is one of the most unique bands I’ve had the pleasure to listen to. They’ve got a simultaneously appreciation both for new-wave and synth-pop together and with those two genres, you can only create wonders. At least if your name is just that. The band consisted of the members George Stewart (Keyboards/Vocals), Jon Kingsley Hall (Keyboards/Synthesizer/Vocals), Josephine Wells (Saxophone/Vocals), Nicholas Whitecross (Guitar/Vocals), Peter Barnett (Bass/Violin/Vocals) and Stevie Cusack (Drums/Percussion/Vocals). Even though Simon Aldridge also was in the band, he wasn’t involved with their first release, which is the one I’m covering. Their first release, “Naked“, was released in 1983 by Magnet Records and was mostly a synth-pop record. It had some features that could be pinpointed to new-wave and a range of different songs on the album, including different styles. Others whom were involved in the creation of their first record, when it comes to different aspect, where amongst others the producers Colin Thurston, David King, Neil Richmond, Peter Walsh and Kissing the Pink themselves. The cover was made by the now legendary UK design company Shoot That Tiger!. Do also remember that not all of them were producers in the sense, some of them were the engineers and mixers of the album, too. But they’re currently not attributed for it on Discogs. Find out more about this journey into their first album, down below.
Ni har förmodligen hört talas om bandet från Svensk Punk och Hardcore, men har ni inte följt min numera nedlagda podcastserie, eller läst min intervju med dem här borta, så kanske de är desto mer okända. Struntsamma, de lirar i alla fall en variant av melodiös punk, vilket innebär att de lagt grunden för en hel del medryckande låtar. Nu har de skruvat upp produktiviteten igen och har därför släppt sprillans nytt material. Låten som nu har släppts går under namnet “Radio Song” och spelades in för några månader sedan hos Nordliga Breddgrader. Ett 8-kanalers ljudkort användes, men utan pre-amps och andra hjälpmedel. Fäst er blick nedanför och spela låten direkt.
Time for the last round of the Slowday Showcase. It’s been two slow fucking days and I’m not going back. Time for a barrage of thrash, with the polish purveyors Rusted Brain. Currently being actualized with their album “High Voltage Thrash“, which surely makes a name in and of itself. It’s obvious that these maniacs have conjured this fine landscape of sound, to enthrall us mortals with their very presence. As a whole, they blend the heaviness of black metal in their subliminal background, as they portray their own thrash in a more positive light – making it the overlapping sound of the whole she-bang. Technically, this rips me to shreds whilst listening and the utmost riff will tingle in my spine for minutes after the song is complete. Unfortunately, only two songs are featured from the track-list of nine songs. Which makes this a little bit harder to pass judgement on, but if I concentrate, I shall be able to do it. The only thing that might not be so fascinating about it is the vocals, but everything else is totally on point. But, yeah, the singer is not only problematic, he delivers a whole ripping out of the dungeon. It might not always match the crazy sound-scape, but he at least makes an effort and energizes a barrage of riffs, before the drums are totally whacked out of existence, due to the thrashing. If there’s one album where you can’t use the word “thrash” enough, it might actually be this one. In one notion or another, they remind me of a thrashing outfit, influenced by Vader to a degree. At least when it comes to the underlying heaviness and the general picture of a “huge” landscape of sound, dwelling in the dark, waiting to hunt you down. Fuck, this is surely one of the much better releases in that category this year alone. What a great way to start your year, with a total annihilation of your brain. Or at least your eardrums. Quickly, fetch your head and head-bang to it, because it will be worth it in the end. Featuring tracks ranging from “Intro (Apocalypse Now)” and “Burn ‘Em“, but only two songs up right now. Released by the American label Tridroid Records on the 21st of February.
Have you ever wanted some of that sweet techno from Detroit back? Well, wait no longer, because it is returning. From this duo coming from different parts of the world, namely Italy and the Netherlands. They’re called Crystal Maze and will never cease to amaze. Currently achieving their dream with a totally new double-LP album titled “Enter The Maze“. Everything clings to the ambient sphere of things, with a lot of overlaying Detroit techno for the masses to indulge in. But I don’t think this is going to appeal to them, more than it will appeal to you hardcore Detroit techno fans out there. There’s a lot of minimalism in it, some influences of IDM and other things that will get you off course. Imagine yourself twirling into the weirdest galaxy you’ve ever been in, following the trail of 808 beats and sufficient blip-bloops. Imagine being out for a walk, in the middle of the country, while it’s raining. Your ideal soundtrack would of course be something like this, as you contemplate about life through the eyes of Crystal Maze. Something about these tracks also sound mystical, as if they were embodying a more jazz-induced experience, but instead within the realms of electronica. Suggestive landscapes, cigarettes blowing smokes and dank, unlit neighborhoods. Hard, swooping electro is not an exception either, which would be a telltale of their amazing width and length – both genre-wise and track-wise. It’s also sufficient to say that they’re not cutting any slack on these tracks, because they’re either pumping along or streaming with landscapes, that would make the genre ambient scream out in full jealously. In the snap of a finger, it can go from a mysterious manhunt, to a sincere electromechanical pick nick out in the field. Quite a rush, quite a feeling and quite abnormal when it comes to Detroit techno. At least if I reminiscence of the days before and walk away because of those in front of me. This is how you tell a story. Featuring tracks ranging from “Overture” to “Gateway 11“, released by the label aDepth Audio on the 18th of February.
Yes, it’s a damn slow day, so it’s time for another Showcase. We’re entering familiar realms as we’re heading into known territory. The band Ravagers consists of four members from Baltimore, Maryland and they’ve currently been helped to release a 12¨ of their self-titled album “Livin In Oblivion“. There is something special about this band, because they put some of those melodic punk bands to shame. It goes a long time before you find something like this and it’s how melodic punk, with thrash-influences should be conducted. Not that there’s a perfect form in which you mold a band, but they combine the best out of the three worlds they have each of their foot in. Reminding me a lot of the Hex Dispensers, even though they play in different divisions. Sing-along punk have never been as acute and astute as this. There’s a certain degree in which you’ll be slinging your fist and prancing around the streets of destructiveness. What I think about is the inherently melodic core of this band, which delivers everything from sick riffs to a certain emotional effect on your own brain. Sometimes you just have to bring it back, with new intentions and a visionary approach to the same mixture of what makes different genres great. It’s snotty, rebellious and they’re living on the edge. Actually, at times, remind me of some of the older Tony Hawk games which I used to play. There, I first heard the song “Amoeba“, which might or might not constitute an influence on these boys. I feel like this is the way Americana should be, or at least they show me something better from that realm of the world. A little bit polished, but still gritty, showing their teeth on some subjects that could be a little bit predictable, but the predictability is nothing compared to their tempo-changes, with wild riffs and a total mind-blowing etiquette. It seems like they’ve pinpointed the quality, not quantity stance that is sorely lacking in much of today’s music. Featuring tracks ranging from “Cold Heat” to “Suicide Bomber“, being released someday in May, on the equally as great label (featured earlier) Cricket Cemetery.
Since I like to have completely contrasting music, fighting over space in Showcase, I decided to include a totally different musician. The artist who goes by the name of Cabaal from Ottowa, have released his latest album to date, namely “Liminality“, which is a metamorphosis of different electronica. Even though the borderline witch house cacophony makes me go astray, the huge landscape featuring everything from (almost) D’n’B-esque sounds to a completely different approach of IDM, make me feel at home again. It’s as if the more modernistic and minimalist elements of that particular genre suddenly started to incorporate themselves, emulating everything that can be considered to be bad in that genre, but instead latching on to the greater elements of the landscape – purveying a sound in between the cacophonous, the enlightened and the brutally obscene. Well, it might not be “obscene” in the words correct meaning, but I hope you catch my drift. At times it feels like I’m climbing the highest mountain, just to fall down into oblivion once again. It also reminds me a lot of the more J-pop oriented stuff that I’ve heard, with overtly (almost obnoxious) electronica that is well-produced and smashes into your own world, without leaving you anything. The deep baselines force you into a dwelling condition, where you don’t know if you’re inside out or if you’re inside in. Probably one of the more fascinating releases that have been offered so far, this year. Everything serves its purpose and the psychedelia is overwhelmingly good. So, have a little tanz by yourself and recognize the ingeniousness. Or fall down from the steep mountain before you ever reach the top of the sphere, failing to collect your rewarded enthusiasm. Because this is going to be in a world of goodies and grace, despise and maybe also a little bit underlying hate. Featuring tracks ranging from “Glass Halo” to “Sun Prism“, self-released in the D.I.Y-fashion, on the 23rd of February.
I remembered, vividly, that I hadn’t included electro yet. I thought it was because of the lack of authentic electro, but I was wrong. First up is the sublime Hungry Soul from Antwerpen, Belgium. His latest endeavor is the release titled “Afterlife Resort“, which gives a rather mushy impression. I’ll explain why. The taciturn yet expressive landscape of both a futuristic time, yet induced and sprinkled with a feeling of nostalgia, has you hooked beneath your kneecaps. Maybe the robots are attacking, but they’re no elites. No, they’re drunken of oil and impaired due to excessive oiling. This could be described further, as they run berserk in your neighboring town, hurting nothing but the infrastructure and themselves. They do really hate anything even remotely close to them, so they want destruction. It might not be noticeable at first, but the cleanliness and sublime nature of the music arcs into a terribly malevolent situation of electronica and electro joining forces with man instead of machine. Some of it might seem arrhythmic, but it’s really rhythm through and through. That old-school wobble, those analog and those alien. Fearing before caring, locked up in different dimensions, miles apart from each other. Yet something forcefully eradicates your control, which make you a spastic piece of fabric for them to work with. Everything seems remote, but still connected to a centralized authority of electronic(al) magnitude. Actually, the probability of this experimentalism couldn’t be counted on. I was thinking more on the lines of AS1 and instead I got Hungry Soul. But now I know why the soul is hungry, because it wants more of that rhythmic stuff that is delivered through tubes of electro synchronicity. It’s spaced-out, yet confined within its own realms of progression and ambition. Ambiguous at least, ambitious at most – but in between is the only certain thing. Featuring the four tracks “Afterlife Resort“, “Heaven Was High“, “Blunted Beach” and “Jack Lag“. Released on Jack Playmobil Records on the 23rd of February.
Also, it’s been a long time, since I heard anything bombastic within darker genres. Either they limit themselves, pending from bombastic to minimal, or just stay within the confined limits of the minimal genres. Now I’ve found something else, something really special, a duo from Houston, Texas called Delphine Coma. It might not be an actualized release right now, since it was released a month ago, but I had to include it. Their release “Exit Isolation” is anything in between cold wave, minimal synth and darkwave. It’s weird, since it’s only minimalistic in the way the landscape progresses and maybe also the vocals. Everything else about it is monumental and bombastic, utilizing the best of two worlds to withhold the minimalism, but at the same time showcasing both minimalism tendencies with a bombastic core to sit on. The overlaying beauty of the sound-scape is wickedness with melancholic intent, but not to a degree that makes it totally ridiculous. It feels like I’m stuck in a dark vortex, slapping me around and carrying me back each time I take a listen. Everything with it grows on you and the tracks differ in both their attitude towards the listener and the general sense of belonging. They’re inviting you to a world of hurt, but you’re too damn attached to even look away or try to make it out. When you’re sitting on the top of a glacier, looking down on the magical spectacle that is Delphine Coma. It might frighten you at first, but when they’ve got you in their grasp, you’re theirs for the taking. I believe that this is what I think of when recognizing the different genres that influence them. This is exactly how it would turn out, but without me knowing it. There’s a sense of gratitude towards them, at the same time, there’s also an edge to it – which takes you from a non-believers perspective, to a cultist worshiper. Even though some of it could be predicted, their unpredictability and underlying sense of movement makes it such a different experience all-in-all. Transgress and transcend from your own apartment, include yourself or be included. You really have no choice in this matter, because it’s in their hands, which is powerful stuff. Something that isn’t going to be reserved for memory lane, it’s something now a part of you. Featuring the two tracks “Exit Isolation” and “Sothis ▲ Dog Star“, released on the 7th of January, on the label In Aeternum.
This is the first time I’ve included classical music. In a sense, it’s not only classical music, but something different. Anyway, the man behind this project is M Janet Mars from Santiago, Chile. His Wagnerian influences and minimalist versus maximal approach, he’s versatile in what he does. He released a new album titled “Janet Jouissance” today, on the 23rd of February. I might say that I’ve listened to classical and even neo-classical at best, but I’ve never delved deeper into those particular spheres, with the exception being the last mentioned. Here we have calm strokes, here we have a sculpture of your heart. Everything is containable, reachable and even unmissable. With each of the instruments doing what they do best, in their different departments, meeting in the middle. It feels like I’m at the Opera again, having a blast and watching something heartening. Even though I’ve critiqued shows in the past, the music have never struck me as this does. Meet the tradition and the progression of scales, prancing around, holding each others hand. Like an elegant ballet, or a folk-inspired dance, it doesn’t matter. Mighty sounds are coming from the depths, carefully arranged to strike every note of your heart as you bleed out in mercy. Butterflies are coming through your body, you’re finally at peace with the music and the transcendental nature of it is simply astonishing. Also, the tone alone in some of the songs, suggest a jazzy experience that shouldn’t be taken lightly. Compromised by its elements, not roaming free, but instilling a classical feeling deep within your own soul. Currently, one of the more intriguing releases I’ve had the pleasure of listening to. I know that I say that about a lot of stuff, but this shook my ground in the right moment. There’s also something for everyone here, you can pluck out anything to your heart’s desire. Come forth, ye bold and brave, don’t stay alone and don’t walk astray. Everything will be put at your heart, together with the shy and the naive, breaking barriers in between. A little poetry cannot hurt, because it is developed within the realms of the magnificent M Janet Mars! Featuring tracks from “This is the Haunt” to “Dawn of the Haunt“. This was released on the non-profit label Mesmerize Savant.
Alright, it’s time for some brutality. For those of you who don’t know, Human Shield consists of ex-The Aftermath, Coke Bust, Sick Fix and current State Violence/Dealbreaker members. Well, that’s a hard line-up right there that you’d have trouble overcoming. Currently, they’ve released their first “DEMO 7¨“, which will be the particular release that I’ll be covering. At times it sounds like scandicore, but it’s got some of that interesting power violence touch among itself which makes the unbearable even more unbearable. Gritty, powerful, extreme – to the absolute core with shredding great accuracy. The vocals are an absolute horror to even encounter, which is meant in a good way, because it sounds even more brutal than much of the stuff that can be found in even more “extreme” genres, how one even could counter the extreme power violence etiquette, is the next question. One of the greater things about the vocals is that he reaches so deep and has a broad spectrum of total annihilation, which is bestowed upon us listeners. It also sounds great even though it’s down below in the mud and in the filth, which is a great thing when it comes to demos, because I’ve never been a fan of screechy and unsustainable tapes/vinyls. You can actually listen to this and keep your head intact, but it’s some of the most brutal stuff I’ve heard from that part of the world. D.C. seems to know where it is at and they do it with such a great vigor that I already convinced myself to buy a copy of this. What more can be said, really? I don’t like to go on for ages, but this is something you definitely should check out. Even though Showcase is something you should check out all-in-all, this is absolutely something I can recommend from the bottom of my murky heart. Featuring tracks from “—” to “Let it Burn“. This has been released on the awesome label Cricket Cemetery.