It came to my knowledge that Q///Q had just released some new tracks. So because of that, I’d like to make sure they’d get a showcase here. I’m not sure if they’re going to be a part of a larger release, but in total I’ve seen three tracks. The tracks are as follows: “Jardim“, “Porto Santo” and “Ossobo“. They are even weirder than what was displayed in “Azores Azul” on Skrot Up. It might even have a proper etiquette of “carnival minimal electronics“. Because it feels like something you would hear be played there, the only difference being that it is in an electronica outfit. Mix that with video-game music and you’ll have an 8-bit dinner that you’ll have a hard time to chew down. Let alone listen to with your own tired and weary ears. Q///Q doesn’t give a damn about table-manners and decide to drive it into our skulls with the hook, line and sinker. We’re in for a treat when it comes to their ingenuity, or you could argue that it’s plain and simple stupidity. Whatever it is spelled out as, I am glad that I listened to these tracks as well. The bizarre has just come a long way and doesn’t shy away from the spotlight anymore. You simply can’t say that they lack playfulness, because that is a very important ingredient in their apt electronica masquerading as tropical minimal synth, with schizophrenic experimentalism at the tip of the spear. Well, listen to all these three songs as well, down below.
Quirky and steadfast, but gloomy, experimental minimal wave in a tropical setting. With our ears the minimalism can go just as far but not further, Q///Q decided to have a sound-scape that is totally subdued into minimalism with their release “Azores Azul“. Those whom stand behind this moniker are Peter Kris, GT and Quinn – which doesn’t really say that much to me. But accordingly, one of the tags are German Army, so one could say that people from the army might be involved. That wouldn’t be too surprising, because the experimentalism of Q///Q head into their territory at times. But this is a rather different palette, more quirky synthesizer, a weird landscape of sound which is suggestive to say the least. The rambling of an inane person viewed through an hourglass, slowly transforming into sand. It is like being stung by electronic bees.
The outlet for this weird music is not that surprisingly; Skrot Up – the Copenhagen haven for crazed music. Even though five tracks make up around fifteen minutes, whilst listening to this music – you can’t help being lost in transmission. Each and every hit on the synthesizer makes an awkward sound, each and every beat that can be heard is odd to say the least and the vocal impersonations that are carried around in the tropical sound that is overwhelmingly there – remind you more about every seminar you wanted to miss – with a person babbling incoherently about stuff you’ll have to learn but don’t want to. This is a good mark for Q///Q though, because they execute this weird combination with astonishing results. Experimentalism is the end and beginning within this landscape of sound, the quirkiness and the general attitude in which they bring this upon us. I’ve found my salvation, probably. You can buy the release directly from Skrot Up, it is strictly limited to sixty cassettes, you can also stream the release down below.
Men Of Bissau, Avellan Cross and Siobhan – are all a part of the April batch of cassettes from one of my favorite label(s) Nostilevo. Three cassettes whose sound-scape become alike, but differentiate in many ways. “To Heal In Paradisó” is the first effort, “TECHNOISE [MTN K7]” the second, and “Enhancer” the third. The last-mentioned release is a re-release of a 2010 cassette – the debut-album by Siobhan. Welcome the new wave of industrial from the heartland of urban Detroit, to San Fransisco heat, and the ephemeral war-zone and 1990’s-theme of “TECHNOISE [MTN K7]” – the second release by Avellan Cross. Featured in the second section of three for you to listen to [#2], is Avellan Cross. You don’t even know what you’re getting yourself into.
Avellan Cross. More known as Allegory Chapel Ltd., or under his real name Elden M. Whom has had a long-going history in industrial experimentation in the 1990s, with releases under his aforementioned name like the first titled “Gethsemane” in 1986 and the latest, a split-release with Neither/Neither World in 1999, titled “Devil’s Lullaby / Evidence Of Demonic Possession“. But with his newest alter ego Avellan Cross, he’s been featured for his first release on Chrondritic Sound in 2013, titled “Stations Of…“. Just to be released on Nostilevo with his latest addition, a cassette titled “Technoise [MTN K7]“. Which is precisely the release I’m going to write about in this section.
He’s taken his sound from a more dark-wave-oriented minimal synth mash-up with experimental hints everywhere, to a rougher and more disciplined experimental industrial sound. When introduced to his newly shaped sound, you can’t help but imagine big industrial machines churning, wheels turning and the dripping of lava-infused material on steel grounds. A rather noisy interior is overwhelmed by the harsh industrial exterior that surrounds the atmosphere of sound. An continual audial assault that comes in waves and sooner or later fades out into nothingness. Though a lot of remnants from his first release and that sound are to be heard in different tracks, the kind of malevolent minimal synth not heard anywhere else, it is noticeable that he is taking it in another direction. From a harsher sound, to an intermezzo of acidic sounds bouncing around with a static melody. A sound of suspense can be heard, a 1990s-inspired pumped up electronic body sound can be heard trying to channel itself through the cracks of his imagery, the visual and sonic imagery brought to you by harnessed sounds, minimal percussion and tweaked synthesizers. All I can hear is “Wake up!” and then everything is blurred out, a chastised beat is repeating itself and the voice of Elden M gives a lot to the sound as a whole. It is noticeable that it is themed in a certain way, a rather apocalyptic and psychotic environment is worded out through maniacal whispering, crackling synthesizers and basic rhythms. This is electronic body music for a massacre of mind, body and soul. An electronic dance-off with the drums of war resounding. Being finished off with a German vocals, in a spastic but wonderful minimal synth session. What a finish. The release itself is limited to 133 limited cassettes, whereas 33 of them have a silver label and 100 have a gray label. Buy it directly from Nostilevo, here you can do just that.
Taking heed from the dreamworld, sprouting musical enjoyment through minimalistic synth-pop with cold wave overtones. The Icelandic solo-project aska, courtesy of Kristófer Páll Viðarsson, gives you a rather bleak picture. Having released his split two months ago with Kælan Mikla, put out his own album in 2013 titled “grátónar” – he’s currently in the process of releasing his second album. I do not know the title yet, but it might be self-titled, featuring a range of tracks he had released in his album from 2013 but also a lot of new ones, but in a new outfit. An album that might get released by himself or by a proper label. His electronica takes the best out of the world of cold-wave but keeps the minimalism intact with his minimal synth. A lot of the most desperate vibes surrounding cold-wave are here morphed into the frosty picturesque landscape that you’d expect Iceland to be in winter, together with repetitive motions of his drum-machine in concoction with rather stark percussion, together with stripped melodies dancing around in an atmosphere of total barrenness. Repartiseraren got the honor to exclusively premiere the track “Draumar Rætast Ekki” taken from his forthcoming self-titled album. You can listen to it down below.
Skön electronica som får en att slita av sin hatt och bara vara. En slags skön blandning mellan seriösare techno, house, och den lugnhet som ambient ger. Sort Kat Hvid Kat släppte nyligen sin nya EP som heter “I et væk“, som med fyra låtar gör så att man kan få lite utav den tilltro man haft för det genreöverskridande, tillbaka. Det man möts av som också sipprar igenom är synth-popen, för den rytmen som levereras är verkligen dansbar, men manar snarare en till eftertanke i och med den vackra sångerskans blida röst. Allt som hon sjunger läggs fram som om det är en del av musiken på riktigt och inte bara en bisats utav den. Hennes röst i sammanhanget låter precis som ett instrument, då det passar bra in med de lugna instrumenten, det lugnt gående taktfasta slagen – som för en till en helt annan värld. Tillsammans med kluriga synthar som mest verkar vända runt i bakgrunden och komma tillbaka när melodin slår till som starkast, eller när refrängen börjar gå igång. Utsökt elektronisk musik som var man och kvinna borde lyssna på. När man lyssnar väldigt noga så är det svårt att inte följa med i flödet, eller i stämningen som de har skapat i och med denna EP, eftersom att det känns som musik man lyssnar på vid en hjärtesorg. Eller när man helt enkelt måste vara för sig själv och tänka. En slags intelligent blandning av alla dessa genreöverskrivande elektroniska subjekt. Ni kan lyssna till deras släpp här nedanför. Jag rekommenderar det sannerligen. Fyra låtar som kommer att föra er till en helt annan dimension, en bättre sådan, en mer känslosam sådan.