Gooiland Elektro has been releasing some gems these months that you’ve probably ordered already. Well, it’s not stopping now, because they’re stepping up. First up on the menu is the compilation “Club Funny Horse“, which will be categorized as; Enfant Terrible 028 and Gooiland Elektro 010. Yesterday, the track “Silence” by Cute Heels was pushed forward from this compilation. Today, it’s a whole other deal, with a track from this compilation that I’ve personally selected. An exclusive track that will be put out for you to stream before this release gets out there. This particular track is a hypnotizing and deeply connected being that utilizes the best of straight-forward electro and acidic vibes. With a constant rhythm that is both mesmerizing and stomping at the same time. Enjoy this shape-shifter, as you make your way to find out exactly what this track is. As titled above, it is “Year Zero” by Drvg Culture – featuring apocalyptic connotations in a pre-apocalyptic world. Stream as you wish and enjoy it while you have the time to do so. There’ll come more tracks from forthcoming Gooiland Elektro releases, but not on this day. You’ll have to dig this first.
Folkmun (som är Joakim Granlund) har skapat en ljudbild för stycken ur poeten Ola Juléns diktsamling “Orissa“. Denna diktsamling släpptes 1999, och titeln är egentligen tagen från en stad i Indien. Men enligt Ola Julén själv, som nu tyvärr är framliden, så innebar det följande (enl. intervju på Promenaden):
»For mig handler det om at give associationer til noget afsides. Jeg skriver til dig fra et afsides land, står der i et digt af Ekelöf. Og det var den følelse, jeg ville ramme. Navnet Orissa er temmelig ukendt, det virker fjernt på læseren. Konkret er det en delstat en i Indien.«
Översatt till svenska av just det stycket ur intervjun, kan utläsas så här:
»För mig handlar det om att ge associationer till något avlägset. Jag skriver till dig från ett avlägset land, sår det i en dikt av Ekelöf. Och det var den känslan, jag ville gestalta. Namnet Orissa är rätt så okänt, så det verkar fjärran för läsaren. Rent konkret så är det en delstat i Indien.«
På ett ungefär kan det översättas på detta vis. Nåväl, jag tycker ni bör lyssna till den atmosfär som stegrar och omvälver denna poetiska uppläsning. Avnjut medelst rött vin eller vitt, eller vad ni än behagar. Denna låt är dedikerad till Ola Julén (1970-2013).
Måndagstörsten har börjat utveckla sig efter en dag som sannerligen varit tuff för alla, eller åtminstone borde ha varit det. För på Måndagar händer oftast inte något extravagant, utan man närmar sig långsamt verkligheten återigen efter helgens sköna bris. Eftersom att det för en månad sedan redan varit aktuellt med att The Chrysler kommer att släppa ett nytt album, då det redan gått sex år sedan “The Benelux Years” släpptes år 2007. De har varit hängivna till Flora & Fauna, nog mestadels för att skivbolagsmogulen Henrik von Euler själv är djupt insyltad i bandet ifråga. Denna gång är de ännu hängivnare. En platta med elva låtar kommer att släppas lös den 9:e Oktober, som går under namnet “Hands Across The Sea“. För att fira att det faktiskt är mindre än en månad kvar tills albumet släpps i sin helhet, för er att avnjuta efter att ni betalat med riksdaler – så kommer det en exklusiv låt som Invisible Guy fått ta del av. Ni vet redan vad låten heter, men det skadar inte att upprepa sig lite väl ofta, för det här är titeln; “A World I’ll Never Know“. Den utgör nummer fyra på B-sidan, nämligen B4. Anledningen till att det blev just den låten är hur den melankoliska ådran och den stämningsfyllda atmosfären flyter in i varandra på ett så okrystat sätt som är möjligt. Den gör också att man kan strunta i Måndagsångesten och få utlopp för ilskenheten, då helgens bångstyre blir återbetalt i form utav veckans sega början. Låten ger också pånyttfött hopp, då den lagom extravaganta poporkestern skriar sig hesa i den vildmark som betongdjungeln kan vara. Ni får även chansen att se omslaget i sin helhet och inte den ofullständiga skiss som åkt upp förut. Förresten, Magnus Frederiksen har gjort det fina omslaget. Lyssna, njut – och bli hoppfulla igen. Det är min gåva till er, med hjälp utav Henrik von Euler. Lyssna till låten här nedanför.
Die Song is a label that I actually got into by an accident. I slowly scrolled by on Facebook and found that one of my friends there liked this label. I imminently decided to check it out and was strangely attracted to the aesthetics of it. They were dark, they were somewhat nihilistic – almost on the verge. The first thing I got into was Carrion Sunflower, which had released their album “The Romantic Youth Of Jesus“. At first I was startled when I listened to it, and I couldn’t really fathom who would be into it. But after a few listens, it actually grew on me. James Light is the man behind this label, and it’s a label that is situated in the United States. He’s also released a split between Fistula and Radiation SIckness, which could be titled as the second release by this label. So, therefore, I decided to get in touch with him and ask him if he was interested in being interviewed. Now we’re here, with an in-depth interview in front of us. I asked him about the future releases, the meaning of his aesthetics, his craftsmanship, relations to other labels and many more questions. I hope you’re going to get your questions answered, and I hope you’d be as intrigued, if not more – as I was when I first stumbled upon Die Song.
Nick Siamas makes really interesting music. For anyone that doesn’t (in particular) like hip-hop, I wouldn’t waste my time with this, otherwise. I’ve been coming back to him on a regular basis, since his releases come out pretty frequently. Earlier, he’s released “Feline Sleepwear” and two other releases, but he’s also been featured on a compilation. But the aforementioned release is probably what I know him from, at least. His beats are chopped up and repetetive, but together they create an atmosphere that is hard to come by without that certain feature. This album is, however, one of the less crazy and more atmosphere-oriented pieces he’s put out yet. Now it sounds like a mix in between beats, psychedelic environments and some kind of drumstep – closely attached to a d’n’b kind of thing. Mix that with the regularity of trip-hop and what crazy vibes you’d get from that particular sphere of music. Yes, it’s a sample-laden bomb that will blow your speakers out, but at least listen to the baselines and quirky rhythms that form together with one another, to create an intricate melody. Now, we’re ready for what the name of this release actually is. It’s “Knowledge Eater“, and with it, Nick Siamas takes his Midnight Smack project to a whole other level. Stream it freely down below and enjoy. You can also download the whole shebang for free.
Mine All Mine Records have released The Fatty Acids latest album “Boléro“. You might know them from their first album “Stop Berries, Berries and Berries, Berries” from 2010. So, they’ve got three albums, up to date, including their second full-length “Leftover Monsterface” in 2011. If you include their latest album, “Boléro” – they’ve suddenly got three full-length albums. Together with their friends Faux Fir, they also released a split-EP in 2010. By now, you might know, or have heard of them. Anyhow, they’re from Milwaukee, Wisconsin and are a sextet, made up of the following members: Myles Coyne, Derek De Vinney, Josh Evert, Matt Pappas, Cole Quamme, Kurt “The Pump-it Puppet Trumpet” Raether, and Joel Van Haren. Pretty rare for an unabashed pop-a-delic be-bop band, playing fierce with the psychedelia – to have that many members. But it’s noticeable, it gives their grandiose and picturesque motion of sound that make up their landscape in which they operate. This is very much happy-go-lucky; with a sentimental drain in the background. Make up your own mind by listening, but this is not your regular pop-dose that you shovel into your groveling ears. No, this is something else. Therefore, I can offer you, in conjunction with The Fatty Acids and Mine All Mine, a free download of their track “Sportskin“. By the way, on this particular track, Monica Martin from the Wisconsin-based band Phox – have lent her marvelous vocals. Either you listen to it and download it down below, or you might want to listen to the whole deal, also. It’s your choice. But don’t be careless, now that we’re offering this fine piece of musicality. Either buy it digitally, or buy a limited cassette on Cassette Store Day, which will be made available on the 9th of September.
Light House is a two-piece group that is hard to categorize music-wise. They stumble upon each other as their intricate music is filled to the brink with cold wave, minimal synth, industrial, dark wave and everything in between. The core members of Light House have always been Chris Relyea and Dawn Sharp, with occasional help from Brooks Blackhawk (Atriarch) and their new addition to the gang – Frank Burkard, whom you’ll know more about if you read this interview. It’s one of those groups that you simply set your eyes on and couldn’t turn away for a moment. When I started listening to their music, I was simply hooked. Since 2011, they’ve released everything from their self-released 7¨ in that year, to their “2012 / WISHBONE” 7¨ which was released in 2012. To their first EP ever, titled “In Their Image EP“, which was first released by Freee Records and later on, in 2013 – re-released by Mannequin Records. Here, in this interview, you’ll get to know a little bit more about their forthcoming album, how they evolved, what Light House means to them, their thoughts about their own music, and much more. Read this or leave it be, but I bet it won’t leave you unshaken.
Invisible Guy and Malignant Records (sub-label Black Plagve Productions) are collaborating to give you a track from the “Third Wave Holocaust” album that T.O.M.B. released a month ago. So that you can listen to it in your dark corner of the world. Enter into a world of hurt, a world where death-industrial is the ruler and black noise is the by-product. Soothe yourself with the darker sounds, and malefic content. Be frightened, be on your toes. Woe thee that tries to cross the boundaries of this limitless introductory to a whole charred apocalypse incarnate. There is no reason for you to enter this realms when you’re on your own, but you still have the urge to see into a whole other world. Some may fall, others may fall from grace. But the mighty few will stand on their own and face their inner demons. Anyway, enough of this darkly enrichment of your inner soul. We bring you the exclusive track “The Great Venerat Insult“, for your listening (dis-)pleasure. If you like what you’re hearing, you should head on over to Malignant Records and buy it. Down below, you can read what the label has to say about things.
Active for over a decade and with releases on Fall of Nature, Todestrieb, and Crucial Blast, Pennsylvania’s T.O.M.B. has come to embody the spirit of what Black Plagve is and was started for, pushing sound to the extreme by taking elements of dark ambient, noise, metal and death industrial and assembling them into powerful, blackened occult rituals. Built around field recordings that consist of cemetery desecrations, live crematory incineration’s and disturbing, abandoned insane asylum ceremonies, everything is misshapen and deformed, twisted and crafted into harrowing episodes of hallucinatory, blood soaked rituals, demonic incantations, and waves of foul smelling textures.
10 tracks in total, some, such as Clairvoyant Frequencies, Electric Exorcism, or Vulgarity, with their dense reverberating churn, necrotized tones, and over modulated frequency abuse, fall into the power electronics vein. Others, such as the tribalistic Vom Voodoo, Na La Gore Na, and Tribute to Hanhua, are drenched in unholy atmospherics, with buried rhythms, clanging percussion and deathchant vocalizations. It’s all held together with a clenched, rotten fist, moving and writhing in perfect unison over its 50 time frame.
Another strong and welcome addition to the growing Black Plagve roster and a resounding reason why T.O.M.B. remains at the forefront of the “black noise” movement. Recommended for fans of MZ.412, Gnaw Their Tongues, DEATHSTENCH.
Modern Movement is a project that was jumpstarted by Jen Ellerson, back in 2010. She wanted to capture a movement that she’d seen rising in Berlin, which was limited to eclectic and nocturnal sub-cultures within this specific region of Germany. Mainly ranging from cold wave to other obscure sounds. Those that are involved with the project, describe themselves as “a collective of ambitious, international misfits with irreproachable taste“. So, when this concept first set out to do something, it was by putting up club-nights that would fuse together the potential she saw in Berlin. Garnering a lot of momentum from her previous (and still current) project Brave Exhibitions, which is about the same thing, but not really. It’s based out of London, but it’s focused within a similar scene. She’s been running it together with James Lowry for some time now. Anyway, since club-nights only and installations at that, didn’t really pinpoint what was happening around her, she sketched out an idea for a book in 2011. This later on formed into a bigger project, which would come out in 2013 and also include a compilation of tracks to accompany the book itself. Like a soundtrack for everything that’s been gathered around. There’s a lot to say about Jen Ellerson, and she’s got a lot of experience within multimedia as such, but hopefully this interview will clear up a lot of question-marks. I asked her about the book, the idea behind it, Brave Exhibitions, Modern Movement, what it was like coming to Berlin, how Berlin differs from London and much more. I’m hoping that you’ll find this informative and enjoyable, and I hope that some of you actually recognize yourselves as part of this story.