Watch: Little Trouble Kids – Haunted Hearts

If you’re hungering for some noise to your late-in-the-afternoon tea or coffee, look no further. As we dot the line in Belgium, a band called Little Trouble Kids e-mailed me about the fact that they’ve got a music-video out for their latest single “Haunted Hearts“. I haven’t actually heard of them until this popped up in my browser. Interestingly enough, they’ve got a nice approach to both pop-music and noise as such, together with their “grandiose minimalism“. Grandiose I say, because their percussion-focused track “Haunted Hearts” deliver a somewhat minimalistic sound, in one aspect at least – and that is the semi-acoustic atmosphere and the vocals. Resonating throughout the sound-scape is a new form, but albeit old form, of avant-garde expression. However, what makes their song interesting as such, as I haven’t heard anything from them but this song – is the fact that the percussion takes a leading role. But also the fact that their landscape of sound is shaped around the fragmenting parts that make it feel so completed. This, together with the different elements of both a female vocalist and a male vocalist. This is also where the appropriate tagline for them appear, namely: alternative. Little Trouble Kids is Eline Adam and Thomas Werbrouck.

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Watch their haunting and mystical music-video up above and download their first single “Haunted Hearts“, taken from their forthcoming album with the same name, for free from their website. The album itself will be released on the 17th of March, so I’d tell you to look out for whenever it comes out, because they’ve got a pretty interesting sound. For those of you that are interested in their discography I’d suggest that you’d check out their second album “Adventureland“, released on Little Trouble Disks in 2012, and their debut-album “Little Trouble Kids“. Both can be streamed and listened to down below. Their new track “Haunted Hearts” can be downloaded for free from here.

Exclusive Premiere: Videograve – Space Street (ft. Neud Photo)

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New York, or Neo-York, if you’d go with new beat meet industrial vibes. Belgium haven’t been so far away since they once launched their much appreciated genre of “new beat“, together with iconic acts such as A Split-Second or the Dutch equivalent L.A. Style, with their less body-beat and/or EBM-inspired sound, borrowing more from danceable techno. If we use the definition of the underground culture that was launched in Western Europe, the pioneering of an underground music subculture. The term itself was also used as a collective term in the U.S., for different electronic styles. So it’s not by chance that Videograve emerged out of the blue, in 2011 with their debut-album “Slum Electric” released by and on Living Tapes. Lending a whole new face to the style itself, infusing it with a cybernetic form of industrial atmosphere – into the whole she-bang. Two years later, “Strange Menagerie” came out on the same label. Which might’ve been what sparked my interest in this duo as such, from the beginning. The two members, Danny Riley and Mitch Patrick have taken it a whole other way then for example Schwefelgelb, whom are also scanning the territory close to New Beat, but not into the same realm as them.

With this in mind, Invisible Guy can offer you a collaboration that was done by Videograve together with Neud Photo. This track is rather elusive, rhythmic and robotic. Combining the different areas that they work within, as the more cybernetic new beat with hints of industrial is mixed with an even more melodic side. Even though a little bit of Neud Photo has been put into the mix, the atmosphere itself is harsh and it introduces you both to the sublime monotony in rhythm, but at the same time pierce your ears and enter the divine – with angelic melodies in the background. The track is titled “Space Street” and is made available to you all to listen to and stream, exclusively on Invisible Guy. The photograph that is pictured on the top of the page was taken by Mitch Patrick, and is featured on their latest album. If you’re interested in their latest album “Strange Menagerie“, it can be bought from Living Tapes by following this link.

Listen: German Army – Millerite Masai

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The Italian army has turned into the German Army, as they march in line together. With an amassed amount of albums released on various labels, this German Army returns with another piece of dank esoteric otherworldly piece of music. Their rather sluggish approach takes a toll when they mix the rhythmic delight of kraut-rock, blended together with various psychedelic elements that make a certain masque on the sound itself. These different samples, ghastly as they might be in some ways, provide a monotonic shell for the outer dub to rumble away undisturbed. Everything is layer upon layer of goodness, as you experience the most experimentalist trip you’d ever wanna take. Churning out an even more massive amount of albums in the year of 2013, they make sure to shorten their tracks and leave a lot to the mind of the listener. His interpretation is what rules, because if you can make this into nothingness by being scared away by the oblique sound – make sure you strap yourself in, because this kind of music gets to you brain. You could call it an intellectual barrage, or you could call it gibberish. It’s all up to you. But these uniquely differing vibrations make your body turn in a way it shouldn’t, and in a way it should. Look for the sublime in this music, and you shall find. Yerevan Tapes are kind enough to be releasing their album “Millerite Masai“, a staunch look into the worldliness of music, applying every different ethnic vibe together with the harsh reality that we live in. Brace yourself, because 2014 might also belong to German Army. Because they have a lot of tricks up their sleeve. Stream their album down below and enjoy the weirdness, freak out over their repetitive notion, move your body to the overt rhythm.

Exclusive Premiere: Nový Svět – Yo No.

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Take a trip in retrospect to Austria, have a look around and view the beauty of their architecture, or simply enjoy their traditional customs. But a piece of the puzzle is missing. If you’d ever think of Austria as industrial, you’d be somewhat right. Maybe folk music would be a proper term to throw at them, or maybe world music – then we’re getting even closer. No, what I’m thinking of is simply one of the pioneering groups from that particular region. It is not a political group, it is not a group with more than two members. A proper word to use would be “duo“, since they are “a duo“. Starting with their first album, and self-titled; “Nový Svět“. A proper industrial etiquette that couldn’t and shouldn’t be attached to them, considering how they’ve traversed through multiple genres throughout the years. Yes, the time is nigh for introducing Nový Svět to Invisible Guy, an honor that can be bestowed upon us by Kill Shaman Records. It’s a rather informal introduction, since I’m aware – and have listened to – multiple songs and albums of theirs, since way back. I would call it a sonic introduction, as they about a month ago, released their latest album “Doce“.

In that album, they travel back in time and forth again, as it is as much of a retrospective album – as it is a new one. Featuring tracks recorded in Vienna, Barcelona and Hamburg from 1998 through 2010. Twelve years, and a cascade of different tracks. This fluid collection dates back to, amongst other times, the Hau Ruck! era, as Albin Julius had them released on that label – as one of the very first projects. From 1998 too 2001, and an offshoot with Foresta Di Ferro and Dernière Volonté, Nový Svět were a part of the Hau Ruck!-roster. What’s interesting about them is the fact that they’ve tried a multitude of genres, a never-ending stream that would come in handy, at least if you’d want a fluid and non-identifiable mixture of just about everything from industrial, to folk and everything in between. Well, enough about the historic value that this duo has provided the European soul with, and on with what we’ve got to offer to you.

As you know, this album was released about a month ago. Therefore, we’ve decided to go with it anyway, since we find Nový Svět to be a remarkable jewel of a duo. In a collaboration with Kill Shaman Records, we’ve decided to give you a haunting piece of music from “Doce“, namely the track “Yo No.“, which takes you into the introspection of them as a band – whilst they deliver a grainy combination of the most mystical folk-y world music, sung to you in Spanish. You can scroll down and stream this track exclusively from Invisible Guy. Just click the button and enjoy this complete metamorphosis of sound, as it ventures through whatever sound-system you’re using. This album was released on the 21st of January on Kill Shaman Records. Now, it’s just been put up on the Kill Shaman-shop, go here to buy the LP for 13 dollars.

Label: Kill Shaman Records – Cat#: KSR58 – Artist: Nový Svět

Exclusive Song: Yo No. – Title: Doce – Format: LP

Interview with Austin Rathmell of Hollow Haven Design!

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Austin Rathmell, now who may that be? He’s the front-figure for the solo-project The Way To Light, and he has his own graphic artistry Hollow Haven Design. Having worked with different labels and artists with the latter, and he’s also done splits with his solo-project together with Crawl, Horders and Feral. There isn’t much more that I knew about him at the time of this interview, so therefore there’s a lot of information that you shall receive when reading the interview. I ask him about his graphic artistry, The Way To Light, his discography, and some more things.

What’s known about you is that you are a graphic-designer, under your own brand Hollow Haven Design, and a musician who goes by the name of The Way To Light. But what’s your background besides that and who are you?

– My name is Austin Rathmell. I am and sorta always have been a reclusive introvert. In high school when I wasn’t at a local show I was probably spending time at home alone listening to music. I was one of the only people I enjoyed being with. If that makes sense. I’ve always been somewhat of an artist, but it was only within the past few years that i’ve really begun to push myself and tap into it. After high school I began delving into bands that really changed my perspective on life. Amenra (and all the surrounding side projects), Integrity, Neurosis… to name a few. These influences and my seclusion were the platforms for which Hollow Haven Design and The Way To Light rose from.

What were you doing before, that was in any way related to music or art, before Hollow Haven Design and The Way To Light?

– Before this I played guitar in a band called Botfly. It was a fun ride, but was very dysfunctional and it came to its inevitable end. The end of that band was the beginning of the path I’m now on. I wanted to be able to do everything myself and not work with or have to rely on anyone. And I had some minor roles within Botfly that had to do with art. But it wasn’t until later on that I really began progressing.

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So what was the first “trip” that Hollow Haven Design embarked upon, and was this simultaneously as The Way To Light arose – or simply earlier or later? What were your first concerns with those projects?

– The Way To Light came before Hollow Haven. I started The Way To Light a few months after Botfly disbanded. Hollow Haven was only started recently. There weren’t really any concerns with TWTL, I just wanted to create something different that I wanted to hear. I never cared whether anyone would like the project or not. Hollow Haven of course was different. I had been doing designs for my own projects as well as others for about a year or so. So Starting Hollow Haven was to somewhat put a label on my work as to be able to get in touch with more people in a somewhat professional way.

I know that you’ve created artwork for Die Song, and your own project. But what did you create during that one year, when it comes to other projects and people enlisting you?

– I did work for a small tape label based out of austin called Red River Family, I did a set of patch designs as well as some J-card artwork/layouts. I also did some designs for a band called FALM. To be honest it wasn’t a very busy time for me, I merely did things here and there, but that was the beginning sparks that made me want to dive in as I have.

So, have that created any other opportunities thus far?

– Yes, I’ve been able to get in contact with more people interested in my work. As well as work with Die Song on a few of his releases, and I hope it all continues. I’m hoping to make this year extremely busy for myself, pushing out a ton of art and music.

What kind of graphic artistry influences you when you do your work? Or do you simply have something asked for, and do it within your own means?

– Most of the time I find it works best when someone wants something done that they give me a very rough idea, or simply something they want in the piece, then let me do it my way. When someone comes asking for something very specific, as in they just want to use you as a tool to design the exact image they have in their head, nothing that great comes out of it. I mostly do Photo-manipulations. I love blending images to together to get real obscure forms. So at this point Ive already fallen into the style I love, so that in itself is my influence when creating. My main intent when making an image is creating something that has a strong emotion within it, while still being greatly obscure. Almost as if viewing something completely unattainable .

How do you apply this when working with The Way To Light? You’ve currently released an EP and two splits with other bands. What’s the difference in the method, when you work with your music, as opposed to your graphic artistry?

– I have actually released a tape, a CD-EP, and 3 splits. The Way To Light is an obscure thing to me. Its something completely unattainable, vague,  and entrancing. Whenever I begin a song, there is no formula I go off of. I just build from scratch and let it sort of take its own path in a way. It has become a big part of me. Its a way to express the human experience of life in a way that is truthful. It is enigmatic, as life itself is.  The process for me is essentially the same between the different mediums. Layering different textures respectively, subtly. In most cases there isn’t a final image or sound in my head that I am trying to achieve, I merely start with something small and basic, then begin building upon it. Then a point is reached where I know its done.  In a way, I think both projects reflect each other and give off the same atmosphere. Even though TWTL is done strictly for myself, and Hollow Haven is more directed outward towards others.

So why do you confine yourself within neo-folk and ambient?

– When I first started, this style of music was very foreign to me. But once I had completely immersed myself within it I fell in love with it. There was no turning back. This style I have emerged upon has allowed me to express my work in a way that I don’t think would work well in a different genre. But even then, I don’t consider TWTL “confined” within this sound. I try to do something a little different with each recording. I don’t want to create the same album, the same release over and over. So I never limit myself to what should or shouldn’t be tried. TWTL is an expression of the human experience. So whichever Idea is being presented, the aural side will reflect that. Whether neo-folk, dark ambient, a blend of the two, or something different entirely.

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Could you outline the specifically themes of each album? Since you seem to be doing something new every time, don’t they follow anything?

– I think its best that the releases are to be determined by the listener. I don’t like to describe all that goes into a release, its better that the perceived takes their own explanation and emotions from it. Each release has a slight different feel, a slight shift in the atmospheric texture. Listen, and feel it, each one will speak to you differently.

What would you say, as a listener, gives you a shiver down the spine each time you listen to it?

– When I hear that perfect combination of riffs that sing together, with an eerie voice whispering over it, with the atmospheric moans of drone behind it all. Its a perfect combination in my mind when emphasizing emotions and heart felt experiences.

You’ve done a lot of splits, but could you tell me why you’ve chosen the people you’ve chosen for those splits?

– The first split with Feral and Wrecca, (originally supposed to be only Feral) I decided to do a split with Feral because I had heard his sound already and thought the 2 projects merged well. Feral has strong references to nature and I use a lot of that in my imagery as well.

The Second was with Crawl. This is a local friend of mine whose project is unmatchable. Although both projects are pretty different in sound, it was great to have a split between 2 local solo projects that are very different from what is going on in this city. As well as the 2 songs we used for this release go very well together! Even though one is a very heavy distorted piece of hatred, and the other a slow haunt, the atmosphere is there.

The third was with Horders. I have been a big fan of Give Up and Horders for a long time! So it was great to have a chance to work with him. I think Horders and TWTL are very similar, yet very different as well. So it made a lot of sense to do this split. I think this split is the most “alike” sounding on both sides out of the 3. Even though I wrote heavily in ambient drone, they both just sound good together.

Where are you from and what does this localness mean to you, if we speak about Crawl – for example?

– I am from San Antonio, Texas.

There really is no great local community when it comes to underground music. Only a few projects that I think are truly talented and try pushing themselves creatively. Crawl being one of them. I have always wanted TWTL to be a part of a creative community, but there just isn’t the right people in this city. Or maybe I just haven’t met them yet. Who knows…

What have you got going for you for the next couple of months?

– I will be releasing a full-length album for TWTL very soon. The album is in the mastering process and will be complete very soon. To follow that there may be some live performances. On the Hollow Haven side, I have some new pieces in the works, some personal, some for a few projects!

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Exclusive Premiere: L’Avenir – Fugue

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It’ll take some time until you’ve made your way out of the desert. With only disorientation as your friend. You’ve finally made it out from the land of the North, taken a trip throughout the mean desert of Arizona, settling down in the American dream. Yes, you’ve awakened just to be lulled to sleep again. Sebastian left you to wander off into a whole other realm. It gets colder from here, even though you’re not in the Northern landscape anymore, you’re certainly up north. Synthesizers and a harsher climate might just be what you need. Let me introduce you to Jason Sloan, whom otherwise uses the name L’Avenir. He’s the “cold” synth and minimal wave enthusiast, having released his debut-album “The Wait” on Cold Beats Records in 2013, and he’s participated in two compilations, too. Transfer yourself into a whole other landscape of sound, a much more caring, and beautiful one. It caresses your mind and wiping out whatever isn’t good. Feel the relaxation, feel the comprehension. It’s here where your misguided self stops to think and reflect, and where you metamorphose into the being you’ve always wanted to be. A better man.

Well, if it isn’t Beläten, once again – outdoing himself. No, it’s not the name of the man behind it, but they’re equally as great. This is an excitingly great variation of differentiating artists. Whilst he, the man himself, tries to get you into the fold of indifference, you try to make your way out of the maze. Unfortunately, this is the last cassette in the trio, making this number “3” () in khmerian numbers. This is where it gets as wonderful as it could’ve gotten in the beginning, but of course we saved that for last. Eloquent and mesmerizing synthesizer melodies, drift away into the vocals and mesh with the cunning landscape of sound. Cunning, it is, as the landscape of sound delves into the minimalism where it belongs – overturning the grandiose synthesizers. Hear the sound of the future and the past, as one. Don’t despair, even though it’s in the darker area of minimal synth, it’s a meditative experience. Then you’re gone, as it swallows you within the time that’s passed.

This is the end of the collaboration for this time, as the waves slowly sweep us away. The Beläten-cassettes always come as three, and they will surely go as three. I’m honored to have been chosen by Thomas, to release tracks before the cassettes are released. It’s saddening, but it has to be done. You’ll be given the track “Fugue” from the forthcoming self-titled release by L’Avenir. Which will be out on Feburary the 14th, which will be tomorrow. Stream it down below.

Label: Beläten

Cat#: 3 (៣)

Artist: L’Avenir

Exclusive Song: Fugue

Title: L’Avenir

Format: C42

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Jason Sloan as a long history making ambient soundscapes, which is evident in L’Avenir’s dreamy, cinematic minimal synth. But through the hazy din of reverb-drenched atmospheres, melancholy pop gems appear. Simultaneously the preface and the follow up to last years The Wait (recorded before, released after), this cassette every bit as engaging. Song after song drip like a slow rain on empty city streets, the scent of wet asphalt in the air. L’Avenir’s music is heart-achingly beautiful and overpowering in it’s grandeur, yet somehow comforting and warm.

Sloan is a Professor teaching full-time in the Interactive Arts department along with being the founder and program coordinator for the Sound Art concentration at the Maryland Institute College of Art in Baltimore, Maryland.

– The man who controls says bye for now!

Exclusive Premiere: Sebastian Melmoth – Prosopagnosia

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Venture from the Swine Supremacy in Norway, to a more dizzy experience in the world as such. Getting stuck in the desert with engine failure is only your own fault. As the sun gets hotter and hotter, you get more and more dehydrated. Hallucinations emerge, and you venture into the vast desert on your own. It’s a rather solitary experience, as you gasp for air and try to use your body to your own best interest. You have no idea how much longer you’ll be on the living end of the spectrum. Your newly accompanied friend in your head, Sebastian, is a rather weird figure. He just came up to you from nowhere, but you have no idea that you’re still hallucinating from dehydration. These figures in your head change into different subjects, with names that you recognize from elsewhere. In 2012 they put out “Dysphoria/Accidentally Grotesque” on Feline Vomitus, calling themselves: “Elijah van de Wilde, Mandi Taylor-Taylor and Peter and the Wolf“. This totally irrational experience lay the foundation of what people would like to call Sebastian Melmoth, a rather sinister collective that has a habit of occupying your mind – when you’re in extreme distress. Their latest release is “Emetophobia“, an irrational fear or anxiety of or pertaining to vomiting. But it’s certainly not their last, as their carelessness and pseudo-nihilism made them churn out yet another one, which will be out on the day when we’re supposed to be extremely loving to each other. This is a whole other kind of thing.

When will Beläten actually learn anything about responsibility? Probably when the end is neigh, I suppose. His newly appropriated path to eternal dominance comes with uncompromisable acts of terror. A sonic terror of which you’ve rarely been accompanied with. He’s virtually gone insane with the latest stunt that he pulled, with the usage of khmerian numbers instead of runes. When you start to take a liking for something, he suddenly, out of the blue – decides to destroy it, with impunity. As number “2” () in this order is being rolled out, it gets even weirder. As we move into a totally unfamiliar territory, risking our sense of the world to be tinkered with forever, leaving us in this state – in all of eternity. Be sure to watch the stars tonight, because you will not see them in the same light when listening to this mish-mash of different psychedelic experiences, krautrock delivered with a subliminal message, and the openness of the total darkness that they don’t see to want to hide. You’re in for a ride, chump. A ride that won’t end until you’re off it, because you can’t stop it by any means, even if you’d want to.

Here at Invisible Guy, we try to give you a little bit of everything. We can tell you, if you haven’t already noticed it, that this is something out of the ordinary. It’s a part of the three cassettes that will be up for pre-ordering on the 14th of February, and this is the second cassette in that line of cassettes. Have art-rock ever been an interesting pastime, have anti-rock ever had such an odd pair of genres to be included into, and have the world gone mad? No, it’s simply Sebastian Melmoth and his minions, serenading you for whatever it’s worth. Resurrecting the awfulness that was Ulrike Meinhof and Andreas Baader, to mention just two people that are involved with this, taking their names for this release. I told you that it’s a quite unconventional approach, but it’s even unconventional for Beläten. This weirdness is titled as “In Ruins“, which is a suitable word for the experience we’re about to induce you with. Yes, not give you, but induce you with. The question is if you dare even to approach it, as the track we’re giving to you goes by the name of “Prosopagnosia“, which is the name for ‘face blindness’, a cognitive disorder of face perception. You might not recognize what you’re about to hear, but you might even get impaired. Take the chance now to hear it, because you won’t hear it again until Friday. Exclusively for you, we give you “Prosopagnosia” for you to stream here on Invisible Guy. The release itself will come with the batch of three cassettes that are up for pre-ordering, on the 14th of February. Lovelessness might get more lovely, but I suggest you’d play it now instead.

Label: Beläten

Cat#: 2 (២)

Artist: Sebastian Melmoth

Exclusive Song: Prosopagnosia

Title: In Ruins

Format: C30

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Trying to describe the works of Sebastian Melmoth is a Sisyphus task if there ever was one. Just when you think you’ve figured them out, they throw something new into the mix and you’re back where you started. Through these 30 minutes of music, we’re treated to post-rock vibes, psychedelic ballads, epic dirges, motor-driven acoustic dance music, twitching post-punk, all wrapped in a distinctly intellectual package. What makes them all that more alluring is that they somehow manage to make this bewildering melting-pot of styles gel, and seem completely natural.

Added as digital bonus tracks, are three remixes. DTT twists Presley Honey into blissful chamber pop, Bass Clef adds an even more peculiar atmosphere to Prosopagnosia, and in the hands of Jonas ‘cup MT’ Golland the same track is turned into what can only be described as Art House.

You listen to what the head-honcho has to say, otherwise we’ll leave you in the desert!