Premiere: The Foreign Resort – Dead End Roads [Musicvideo]


We’re late on a premiere, but it’s beginning to slowly unfold. The Foreign Resort have released a single, as a run-up for their coming tours in Denmark, The Netherlands and USA – this fall. This particular single goes by the name of “Dead End Roads“, and is taken from their forthcoming album, which they have been working on together with the legendary John Fryer. A noticeable difference this time is that they rely on dark and heavy synthesizers to be pushing the sound itself, with a more electronic approach to their music then they usually have. The beginning of the song is absolutely fantastic, but so is the rest of it. But the gritty and adrenaline-filling synthesizer that hits it off, gives a particular sense of suspense. The sound itself is more cold and calculated, as they do not rely that much on their trade mark that is post-rock mixed with post-punk and new-wave. So it’s obvious that a lot of what you’re hearing have been affected by John Fryer’s mixing, producing and engineering. This might just be a temporary thing, just for this album, but I’m currently liking what I’m hearing. It harkens back to some of the legendary bands of yore. But there’s something new and fresh about it. It is deeply emotional, but at the same time on the edge and in the dirt. The music video was directed by Morten Engels Ryming, the actress was styled by Sascha Elvar, and the actress herself is Emilie Flyvholm. With special thanks to Photographica & Henning Ørsted. The single was recorded in the time-span from March to April 2013 – at Black Tornado Studios in Copenhagen. Last but not least, the masterful sound itself was mastered by Chris Cline at Studio Wonder of Sound, in San Antonio, Texas. You can also listen to the track down below, along with two remixes of the same track.


Stream: Lebanon Hanover – Tomb For Two


A minute ago, Lebanon Hanover finally announced that you can buy their album digital and stream every track on it. Much to the joy of you misanthropes out there, because they have another jackhammer they’d love to hit you with. Existential questions plague them, within the realm for their suggestive and subliminal assault on our minds. Blending together the German language with the British, making it a dark field-trip for every European. Their earlier content have been even more miniscule, whilst they add a whole other dampened atmosphere with the minimal wave – which is used to broaden the landscape. Even though their mission is to DE-construct, it feels like they re-construct much of our Faustian soul. Mind you, this should not be considered to be a review, but rather an insight for myself and others to contemplate what this means to us. Rather; our interpretation of their words, when contrasted with the musical landscape they so carefully map out. Larissa Iceglass and William Maybelline embody a metamorphosis of feelings that contrast each other. On one hand, there’s the gravely melancholic and cynical view which they present to us through their barren landscapes, but on the other hand – there’s a world of beauty laden beneath the thorns in their side. Larissa manages to embody the dismay of how you fail to even, in the slightest, change the ingrained minds and thoughts of others. With her unengaged – yet engaged – voice of disgruntlement. Re-imagining another world through harsh emotions, hoping that there will actually be something worth to grasp on to, for their life. Tomb For Two is clearly their most outspoken work up to date, even though their outspokenness have been with them since they began, they’re maturing for each step they take. Or maybe it’s simply a decoy, to trick us all. Well, the laugh’s on you, not them. Stream their whole album down below and don’t hesitate to buy a physical copy from Fabrika Records, or download the whole deal for eight euros if you’re that type.

Spotlight: Metro Cult – New Space/Ghost!


They are few and far in between, but once you find your death-rock – you can’t help but listen to it. It feels like Metro Cult bring something new to the table, at least in form of nuances in their death-rock shaped post-punk, with an entangled web of both dark punk influences and a picky new-wave sound, together with a perfectly laden mat of synthesizer spookiness. These dastardly fellows from Copenhagen match their stark and darkened image with the sound they’re conveying. The band itself consists of Christoffer Bagge (Vocals/Guitar), Johannah Jørgensen (Synth), Klaus Nielsen (Bass) and Johan Schultz (Drums). Their music makes me want to make my way to a batcave, even though they rarely even exist anymore. A couple of days ago they released two tracks, namely “New Space” and “Ghost” – which was recorded at Subversive Studios in Copenhagen, with the help of Lasse Ballade and Peter Peter. It was also released by Adult Crash as a 7¨ vinyl, on the 21st of September. They are limited to 200 copies, so I suggest you go and get one. Either you buy it from Adult Crash, or you contact the band. The cover art was created by Sally Dige Jørgensen. Listen to their two tracks down below, and remember to put in some money for it if you like it. You can also download them for free.

Premiere: Női Kabát – Make Room! Make Room! [Musicvideo]

The people of Női Kabát have released a music-video in collaboration with ASWESAW (whom produced it), which is an experimental documentary project based out of London. It was directed by Boldizsar CR, DOP by Oskar Proctor, edited by Boldizsar CR, and assisted by Rachel Schoenfeldt. The video itself was filmed six months ago and premiered yesterday. Like the unobservant fool that I am, I evidently missed it. Knowing what their song is all about in the first place, the video makes more sense. Here comes an excerpt from the interview I did with Női Kabát, as Dee Rüsche explains what the song itself is about:

The title comes from the book ‘Make Room! Make Room!’ by Harry Harrison. This was turned into the film Soylent Green. It is generally a story of overpopulation and the decadence in decay that perhaps that would facilitate. I like to think of it as a love song also and a thought that there would still be a way out. These fragile figures ultimately burn in the fire like the human race is heading towards.

It becomes evident that the video is all about the same thing. I find it to be equally as masterful as the video for “Underpass“, by John Foxx. That particular song was influenced a lot by J.G. Ballard and takes up the topic of total urban decay, along with the sentiment of overpopulation. Detachment from humans as such and humanity as a whole. Whilst this is an interesting comparison, one must not forget some of the joyous elements that Női Kabát carry in their song – which is worlds apart from the indifferent and nostalgic nature of “Underpass“. It’s almost as if there’s something enjoyable in humanity’s own doom. But there’s also the indifference that John Foxx carries within his song. So much of it can be compared, even though they’re forty years apart. Maybe it’s because the same topic is even more relevant now then it was back then. It feels like he was a prophet of some sort. Anyway, enough of this and more of Női Kabát. You can watch their music-video up top and actually order from their new batch of “Make Room! Make Room!” 7¨’s, as [aufnahme+wiedergabe] rolls out a second edition, limited to 200 and in black vinyl. Which are available now, over here.


Premiere: Lebanon Hanover – Hall of Ice [Musicvideo]

Lebanon Hanover are releasing a new album today, titled “Tomb For Two“. The video itself is of the track “Hall of Ice“, which is a track taken from their album which is released today. Diego Barrera of Celestial Twins Production have directed this music-video, but he’s also the art director and he’s written it. Accompanied by assistant director Julieta Triangular, featuring Camilo Acosta, Camilo Arévalo and Michel Beauvais. Last but not least, it was edited by Adria Ghiralt. The release itself can be obtained on Fabrika Records, so if you like what you’re hearing, you can buy it over here. It’s in the vein of what Lebanon Hanover have pulled off earlier, but there’s a certain melodic vibe that haven’t been around in their earlier releases. So, there’s still some hope left for us. You can sense the hopefulness between the lines of the melancholic strikes of post-punk and cold wave. Another interesting thing is the sincere output of both English and German in the same song. It makes the whole landscape even more dismayed, as if this is the communique from Lebanon Hanover to the rest of the world. I can understand the pain they experience, since the world we’re living in isn’t really the epitome of civilization. A fighting spirit against the norms created by people in society. The video itself has a representation and is meant to portray the following:

This video is presented as a confrontation, a symbolic representation of a struggle, criticizing the role of religious images (primarily christian), which serves to indoctrinate us into accepting the norms, educating us to accept corrupted society values, employing blame (pointing to each other), ideological superiority, in which “sin” is not understood like a principle of perfection {as explained by Oscar Wilde while in prison).

On the other hand, this video is also an ode to cultural universality as a principle of tolerance, an ode to the connection with femininity and eroticism, to Rebis {The Hermetic Androgyne}.

Catharsis (removal of thorns), build revolutionary mechanisms by means of opening the mind and fighting against social conditioning.


Premiere: Dúo del Sol – Never the Same River Twice


This is something really unusual for Invisible Guy. I got a mail from Dúo del Sol, which is a classically trained duo consisting of Tom Farrell (Guitar) and Javier Orman (Violin). I must admit, I didn’t really see myself delving into the sphere of classical music, even though I like it. Anyway, these two gentlemen have a history of playing classical music after college, touring around the USA and winning awards for that. However, they felt like something was missing and Dúo del Sol, according to themselves – set them free of those bonds and added the thing that was missing. Instead of being locked into that dome, they broke free and set improvisation and creativity in the first room. LA Weekly have called them “avant-sonic acrobats“. Another thing that needs to be added, is that this particular album came out after an overwhelmingly successful Kickstarter-campaign. Without any words used, this first release; “hello Kaleidoscope” symbolizes just what they were missing earlier. It is a mixture of raw talent, being channeled into an open landscape of sound, breaking free from every little constraint and barrier that can or could be found. Over here at Invisible Guy, we were offered to premiere a track from their album. It’s a track that wasn’t meant to be on the record at first, but they included it anyway. The track is titled “Never the Same River Twice” and you can read for yourselves about the process behind it, from the band themselves:

“This is a track that almost didn’t make it. When we first started writing it, we were excited about the moods and harmonies, but soon after that we were stuck. One day we gave it space, made the phrases longer, let it breathe. And it came to life.

Now it’s one of our favorite songs to play (we use a loop station for performances, but recorded all the tracks separately at the studio for this album).”

Exclusive Stream: This Morn’ Omina – Obeah


These interesting figures within tribal electronics, industrial, ritual techno and everywhere in between, are making a minor come back with the album “Nagash“. Karolus Lerocq and Mika Goedrijk have been at it since 1997, in various constellations, when their first album “Decline And Fall Of Empires” was released on the label Afterfucht. Together with the sub-label of Enfant Terrible, namely; Gooiland Elektro, Invisible Guy will be transcending the realm of reality in favor for a more suggestive environment. This is simply not for the weak of mind, since the galloping hordes of beat tear into the tribal instincts of man. Some of it seems to be a tad psychedelic, when the heavy beats land their blow on your ears. Well, as it have been said, you now know what you’re getting into. This is Gooiland Elektro 011 and Enfant Terrible 029. In this collaboration, we give you the B2 track, which is the last track on this particular release, for you to listen to. It’s titled “Obeah” and you can stream it in full down below. It will be out in mid October, so if you’d like to order it whenever it shows up, you should go to Enfant Terrible.

Promo: novva falla – Before the Journey to Eben-Ezer!


Well, we hadn’t heard from novva falla in a while, but he’s already out there with his release “Before the Journey to Eben-Ezer“. This is an homage to Austin Osman Spare, an occultist an painter from the 20th century Britain that we no longer know. He’s probably most known for his contribution to the esoteric legacy in Britain at that time, and his occult grimoires titled “Earth Inferno” (1905), “The Book of Pleasure” (1913) and “The Focus Of Life” (1921). One thing that sets novva falla apart is his dedication to personalities that no-one else would even think of. Also, the fact that they’re knitted into the history of that particular country in one way or another, which in itself is fascinating, as you learn more about it. His analog minimal synth mayhem is everything from droned out landscapes, to intimate rhythms, to self-explanatory melodies. That, accompanied by haunting vocals. You’ll get eighteen tracks that you can listen to as you delve into the history and background of this release. It was released in August on his own tape-label called “Tesua“. If you buy the tape itself, you’ll get a download code with it. Support his work if you like what you are hearing.

Interview with Női Kabát!


Photograph by: Cserkúti György

Női Kabát is one of the most interesting acts coming out of Europe in these times. It consists of three people, namely Dee Rüsche (Lungs / Metal), Owen Pratt (Synthesis / Noise) and Jonas Ranssøn (Simmons / Live Drums). One of the unique things that have shaped them is the fact that they’re situated in different cities. Considering the fact of how hard it is to keep something going, when you live so far away from each other. Yet, they’ve managed to strike the public with their immerse first release “Make Room! Make Room 7¨“, which was released by aufnahme + wiedergabe. It sold out very quickly. The music itself is bordering on synth-pop, new beat and cold wave – to name a few genres which have set root with them. Since people began to talk about them, revere them with kind words, they set out upon a Summer-tour in Europe. It’s when I came in to the picture. After reading a few interviews that had been conducted with them, learning a bit more about them, it felt like I missed something. Therefore, I decided to get in touch with them and do an interview with them. This is probably one of the more in-depth interviews out there, so I hope you learn something new and like what you’re reading. Or you might hate it, for all I know. But I did my best. In this interview, we get to know more about them personally, their influences, the origins of “Make Room! Make Room!” and much more. Get in line, read it up.

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Premiere: Orchidée Noire – Défense de se noyer [Musicvideo]

Xavier Soquet, also known as “Orchidée Noire is a french-based minimal wave (and synth)/cold wave aficionado. His take on this whole ordeal is to be a little more minimalistic then his counterparts. Which is really strange, since the genre itself builds upon the concept of minimalism. Does it even get more minimal? Yes, it obviously does. Some of it actually reminds me of Techno in the start, with a nice utilization of what’s probable analogue equipment. Even though simplicity is the key, there are thoughtful layers that compromise even the smallest part of the song itself. If you’re a strong proponent of everything French, then you’d dig the vocals also. Therefore, we premiere “Défense de se noyer“, over here on Invisible Guy. Some of you might’ve already gotten the taste, but you can get even more of it here. Listen as the outdrawn synthesizers, with excruciating warmth and power in themselves are consumed by a catchy rhythmic baseline. The music-video itself is pleasurable to watch, since it feels like you’re going on your own adventure – accompanied by the song itself. Listen to it down below or watch the music-video, up above.