Premiär: Rättens Krater – Skottår

artworks-000061575610-5484xo-t500x500

Allas våra ljuvliga gossar ur Rättens Krater är tillbaka igen. Nu i formen utav en ny låt som premiärspelas här på Invisible Guy. Ni kan för all del strunta i PSL, för där kommer ändå inte något roligt. Dessutom så är vi inte lika fyllda utav hybris när vi lägger ut saker. Här får till och med ett “terrorpop“-band från Mellansverige plats, medan det förmodligen inte skulle vara så där. Så för all del, stäm in i skönsången och hälsa våra nykomlingar välkomna. Ni kommer att få lite mer tillrättalagd post-punk, med de överliggande terrorpop-vibbarna. Möjligtvis inte lika lekfull som “Apmonoliten“, utan lite mer utav en låt för när man varit bakfull. Känn hur feberdrömmarna går igen när pukorna slås gula och blå, när raggarna kommer ut ur sina skrymsel för att bevittna spektaklet – då pretentiösa hipsterfjollor gömmer sig av ren skräck. Packa lådorna fulla av fultjack och släng på kitteln med brass, käka lite pizza om ni får lite för mycket cravings. Nej, men låten talar nog faktiskt för sig själv. Lika geniala lyriker som det alltid har varit när det kommer till Rättens Krater. Så jag hoppas att “Skottår” ska vara tilltalande för de subkulturella grupper som inte är omnämnda. Ni får streama låten och lyssna på den här, exklusivt på Invisible Guy, innan debutalbumet “Bygga upp ett stort berg” släpps till massorna den 4:e Januari. Häcka utanför Dead Beat Records runt den tiden, om ni vill haffa ett exemplar. Som de säger: “den enes död… den andres frack!

Interview with Minor Birds!

823531_10151713289010410_1736567791_o

Minor Birds is a long-living duo that have been around since 2004, in different shapes and forms. It consists of the siblings Chelsea Wilde and Joel Wilde, and what separates them from everyone else is their unique output of music. Ranging from baroque pop to experimental classical music. They’ve released a lot of records since they got into making music again, in 2009. Since then, they’ve released a specifically great album titled “Hold Back All My Dark” – which I would consider to be their current epos. Instead of being a long introductory to them, I want this interview to speak for itself. When I asked the questions, Joel Wilde answered them and they’re ranging from what they did in between 2004-2008, and what went into recording their latest album, to everything else.

Continue reading

Premiär: Pär Thörn & Martin Küchen – Växjö 130509

coversista

Zeon Light Kassett med Joakim Granlund vid rodret har alltid överraskat på ett eller annat sätt. Denna gången är överraskningen lite större, dock inte med tanke på val av personer, men i alla fall genren som man hamnat i. Pär Thörn, som är en av de artister, som utges inom ramen för Zeon Light 051 – har en gedigen diskografi när det kommer till field recordings. Från det tidigaste släppet “Följ Bara Anvisningarna“, släppt på Firework Edition Records, till “Variations On A Theme By Pierre Degeyter (Celebration Of A Revolution)” med Leif Elggren. Tillsammans med sin vapendragare Martin Küchen, som även är saxofonspelare sedan länge, så kommer de släppa “Växjö 130509” – vilket kan antydas vara ett tidsdokument av just den dagen. Inte för att jag är nämnvärt intresserad av fältinspelningar som genre, eller förstår mig på det överhuvudtaget, men det finns något där som är så lockande. Egentligen kan det bara ses som en slumpmässig lottning att det blev just detta, med tanke på att premiärspelningarna har duggat tätt nu på senare tid. Men det finns en slags visuell skåra i den här låten som ni kommer att få lyssna till, exklusivt på Invisible Guy. Låten i sig kan antas vara ett livespår när man kommit tillräckligt långt in, men det är inte så säkert när man först lyssnar på det. Det som är säkert är att det utspelar sig i Växjö.

backsista

Det är en långsam process av att försöka förstå varför de gjort just på detta sätt, och vad innebörden kan tänkas vara – eller om det ens finns någon innebörd att ta hänsyn till? Det låter i vilket fall som socialrealism instoppat i märklig experimentalism, när de ljud man hör egentligen skulle kunna vara vilka vardagliga ting som helst – enda skillnaden är att de är stöpta i ljudform och att det egentligen inte är något man tar hänsyn till vardagligen. Måhända tar man hänsyn till något för stunden, men den här låten frambringar mycket eftertanke. Kanske borde det inte ens kallas för låt, då det är närbesläktat med “non-music” – kanske inte en genre i sig, men en beteckning för “icke-musik“. Nåväl, låt “Växjö 130509” ljuda genom ert system nu när ni kan streama släppet exklusivt via Invisible Guy.

Mini-interview with Rougemarine!

521522_380568305336340_627687074_n

Marina LaCroix have created what seems to be a blend between many “waves“, as she’d like to call it. I’m not sure how to interpret these waves, but they seem to come into play when I listen to her music. Recently, she released “White Ocean“, a two-tracked release which featured her original track and a remix by Mondwest. Earlier, she’s been in different bands, utilizing her talents in different ways. There’s no doubt about it that Rougemarine is musical to the core, which can also be heard in her different releases – but especially in “White Ocean“. Coming from an electronic perspective, delving into what seems to be trip-hop, changing into a more experimental approach. Needless to say, she’s got a lot going for herself and I wanted to ask her a few questions about her project as such – and what she sees in her own music, but also what her perspective on music and life could be. So check out this mini-interview!

In 2009, you left your previous band to embark upon a solo-project under the name of “Rougemarine”. Why did you do that and how did you come up with Rougemarine?

– Before Rougemarine I was a band member of 3 bands: as a drummer, a frontwoman, and as a keyboardist. It was such different genres, but it was what I needed at that time. I worked with perfect musicians who gave me the perception to actualize myself in one project, so now I feel that it’s time for Rougemarine.

So, what makes Rougemarine any different?

– Everything and nothing. I can’t only be a songs creator, but a creator of sound. It’s seems like I’m expressing myself when I’m turning the knobs and pressing the keys, moving faders, but it just seems like that. I’m looking for a sound of what’s touching me inside. And there are not that many projects around, in all genres – which make you want to feel something and meditate.

Speaking about your sound, you’ve got a unique take on electronica as such. You define yourself as doing “experimental electronica”, which seems to fit the bill very well. When you begin searching for what touches you inside, some of it might well be shamanistic and spiritual. Where are you normally looking? Or are you simply an explorer, which take things as they come?

– True art only appears, when you begin to see yourself from inside, and whilst not trying to make something similar to everything else – or just trying to make something better than anyone. In that case guys usually say: “Hey! You’ve got something to say!” My track-work consists from 3 parts. At the beginning I must try to get rid off absolutely all the thoughts in my head, and stay face-to-face with the instruments. You can only hear yourself when you’ve gotten rid of your thoughts. So, this is the base of the sound. Afterwards, I start to structure up the track. At the end I’m putting my thoughts into the lyrics, and then to the song. So, as you can see: my tracks are not just an experimental collection of sounds. I named it ‘experimental’ because of the fact that people, who weren’t accustomed to my music, would know it – before they’d press “play”. I don’t wanna think about any stages for the time being, I just want to create music and gradually evolve. And eventually someday, you will know who I am in my ‘normal’ setting.

When did you begin to translate this into songs as Rougemarine? How do you go by when you do it?

– I began to produce music for Rougemarine when I decided to escape from any influences. Influences are a big problem for many good artists, it’s just that they fail to recognize it. So now I feel what can be called; freedom. Freedom is really what’s people need, but they consciously build up walls, in fear of actually gaining it. The result of this is total decay, or ‘death’ as I would say.

What do people that listen to your music think of it? How have the reactions been to what you do?

–  I have different moods of listeners for the same track, for example: White Ocean. Last time I looked into the eyes of random guys in the moment of listening, it was like death came for them, and at the same time another my mate sat near and danced with smile. Everything is just our perception. Also, all people have opinions about life, but sometimes these opinions are simply derived out of social falseness. I just wanna show people that they need to be closer to death, and then life will suddenly feel more joyous.

You’ve recently released your vinyl “White Ocean”. What kind of aspirations did you have when you were making it? Did you want it to be reachable for many, or just a personal record for fewer listeners?

– I want to be reachable for everyone who can find interest in it. It doesn’t matter when. Today, tomorrow – or in 20 years.

Alright, thank you for your answers. What do you want to say, as a final answer?

– I wished everyone would stop trying to be anything other than themselves. Be yourself, relax and keep your ‘wave’.

Listen to the two tracks from White Ocean, down below. You can buy the limited edition 12¨ from her bandcamp, as well.

Listen: Pouppée Fabrikk – H8 U EP

a3357923916_10

Time to get hit hard once again, because our Scandinavian masters of EKM are back again. Bringing you a sledgehammer of primitive electronic body music, channeled with the fury of Henrik Björkk through his heavily distorted vocals. Yet again they release a single, this time in the form of a remix-EP, with the main attraction “H8 U” – being pounded into you by force. Concocting a mix of old-school EBM, to pre-2000 body music, together with a final assault of a more melodic kind – with post-2000, modern “dancefloor” electronic body music. Pouppée Fabrikk selected Blush Response, Kant Kino and [aesthetische] to remix (and mix) their single. It’s not as impressive as “Bring Back The Ways Of Old EP“, but it still deserves a spot on Invisible Guy. For those of you that are keen on keeping stuff as old-school, or as anhalt as possible – sorry, but this EP is clearly not for you, with the exception of Kant Kino’s remix. However, this single of theirs deserves recognition for the fact that Pouppée Fabrikk are trying to keep it that way – with the heavy emphasis on where they actually came from. If you’re into the whole modern electronica she-bang, and EBM at that – you will most certainly have a blast. Well, we’re going to have to wait for the whole ordeal to come out instead, before we’re getting up and above what has just been heard. If we’re lucky, it might actually come close to the level that “The Dirt” managed to reach – even though it mostly contained old and re-mastered tracks. The anticipation lies in waiting for something new from this fiendish group. Listen to and stream the single-EP down below. You can order the digital-only version from Alfa Matrix, while you await the real deal.

Spotlight: German Army – Last Language

a2800736906_10

It must be said that I am not that familiar with the work that German Army has put behind them, but I’m certainly familiar with the general mood of his music. Since I was sent the latest album “Last Language“, I must oblige to at least talk about it. This album is a veritable orgy with harsh reverberated noise, mixed with ethnic vibes and an utterly schizophrenic atmosphere. A lot of the tracks rely on sending a claustrophobic message, conveyed through colorless lenses, as another banging drum bites the dust. Swirling cataclysmic environments collide, in a matter of seconds, as buzzing industrialized tools give you a blood-curling experience. Whilst other tracks rely on heavy reverberation, to give another kind of characteristic to each individual track – as it is used differently every time. It feels like the tracks alternate into each characteristic, giving a general feeling of how the songs are divided up. When you listen closely, you can tell them apart through a 50/50-principle. Meaning; after one track, there’s another with the aforementioned characteristics, which change rapidly from the first-mentioned claustrophobia, urban decay, colorlessness – to the less harsh and less industrialized landscape of reverberated sound. The industrialized tracks sometime border to harsh noise, without being an embodiment of it at all – at least not to the fullest extent. Acting as a barrier between the general experimentalism of noisiness, and harsh noise as such. Due to the fact that he utilizes the experimentalism that makes German Army a floating experiment per se – makes it hard to categorize what shouldn’t be categorized. But we humans need an explanation as to what we’re actually listening to, which is hard to do when you come across something like this. Actually deciphering this wall of menacing, and possibly “heard before” sound, without making any pointers to what actually can be experienced through their sound – is hard enough. I advise you to listen to it, at least, because it’s magnificent with its all-out chilling influence, on the mind. The release can be bought from A Giant Fern Records, in the physical shape of a 180g LP.

Premiere: Neud Photo – Dimensions (Zarkoff feat. Iva Viskovic Mix)

BIG!IVA Kraftjerkz 14

From the western world of America, primarily New York, to the eastern realms of Croatia. Two worlds have met when Neud Photo and Zarkoff decided to let each other off the hook. Zarkoff got the chance to totally rework Neud Photo’s gloomier “Dimensions“-track, which has been out since a year ago. This time he used Iva Viskovic, a melancholic pop-queen, to enhance the peppier side of synth-pop. Even though the melancholic vibes can be felt, this rework is a lot more melodic and less atmospheric in a sense. Maybe it’s for the best, maybe it’s for the worst. The listeners don’t have to agree, but this is how Sasha Rajkovic (Zarkoff) have interpreted the original song, through his own lens. On a release that is called “Dimensions/Famous Grouse“, the reworked track is standing tall on the A-side of things – whilst his underground techno track “Famous Grouse“, is representing the Zagreb underground, packaged to the rest of the world – for them to hear. Kraftjerkz, a label from the US run by one guy – was the one that decided to put this release out. A year earlier, the track that you’re about to hear that is reworked, was released in its original shape by them. This is a time when the world is clashing, and what is better than to embrace it by reworking a track and making it into another version? I think you’ll have to listen to it for yourself if you want to believe it. It’s a tell-tale story that can easily be approached by the excitement of the listener. Tune in to “Dimensions (Zarkoff feat. Iva Viskovic Mix)” and forget where everything else came from, just take a deep breath and let yourself be swayed in. You can stream the track exclusively on Invisible Guy, down below. If you want to buy it, go to Downtown 304.