Exclusive Premiere: Yves Malone – Cheap Thunder / Abyssoteque!

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The busiest of them all seem to be the label Field Hymns from America, whom have been keen on releasing a booklet with a very special artist. This artist is Yves Malone – the creator of music for himself and to soundtracks for 1980’s independent movies – like Abysscoteque, The ECHO People and Zenith City. A common theme is the 1980’s but also the fact that every movie that he’s created his own music for, perpetuating a soundtrack of his own, are horror movies from this time period. Those kind of horror flicks that you wouldn’t know anything about unless you stumbled upon his creations, or if you were in any way involved in doing them in the 1980’s in America. Well, that might be stepping over the line a little bit, connoisseurs might have their thing and know it – but I sure as hell didn’t until I listened through his albums. These three releases are all a part of the booklet that Field Hymns are organizing to be put out for release, in honor of the already released albums which he put out himself in December of 2012. I’m here exclusively premiering two tracks from each album, but first you’ll get a description of what I think about them. Here you get FH044, FH045 and FH046. Right now, however, you get FH044 – which is “Abysscoteque“.

FH044Abysscoteque. The first release in this series of three releases, all themed after horror flicks. Albeit the fact that Yves Malone has put his sight on the softer but more concentrated side of 1980’s synthwave in this release, it is clear to me when listening to it that his intentions are of creating a soundtrack. Panning into the first few melodies, to hear the static rhythm that pumps up the blood within me, to listen carefully to the basedrum which is stomping its way through the sound-scape in a rather subliminal fashion. The first setting is already here and is placed upon me to decide, as the melodies gradually change from the darker intonations to a more grandiose and melodious; shall I say clearer sound, to which I nod my head to as I get tossed around. I’m waiting with suspense just to hear any form of subtle change in the sound-scape as it moves forward in a lingering fashion, making every synthesizer stab more aggressive, freaked out and non-passive. To then be introduced after the departure of the first, to a rather gloomy entrance of different synthesizers matching the neon colors that glow somewhere in the distance. This does not remind me of a horror flick at all, even though I notice the suspense to be there all the time. A rather doom and gloom sound for synthwave – which always seem to carry an upbeat torch not falling from grace – unlike the sorrowful display of palettes that remind me of awful days. Painting a broader picturesque notion of decay, a city that earlier bloomed has gone astray and you’re alone in the darkness, catching yourself in the monotonous living, the scariness of dark alleyways and people whom you do not recognize. People whose faces are covered. Maybe in masks. The album slowly sinks into the same methodical pattern that make it what it is. Feel what you’d like about it, but it is a masterpiece none the less and the more you get into it, the further you dig – the more melodious, morbid and angelic it gets – yin & yang are present to deliver their verdict. I’m noticing that everything really lies with the overtly grandiose sound-scape, created by layers of differentiating melodies, synthesizers, drums – but mostly synthesizers – far-fetched from any reality that I know of. Abysscoteque is a true soundtrack, no matter if you say its synthwave over and over again, the execution is in the aforementioned style – which is great if you’re interested in cinematography of different sorts. I can drift away into this every day, but it seizes to be music and simply needs a visual element to be paired with. Though I’m not so sure if any of those movies would do for me, since they’re not really my reel of film. Anyhow, it’s a basic introductory to the baby-steps you’re taking when taking in Yves Malone and his music – the sincerity is never lacking. You can buy this release soon, from Field Hymns records. But you will have to wait for a bit before it is fully realized.

Listen: Michael Idehall – Spiderwoman

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Det känns som att det var ett bra tag sedan som Michael Idehall var i strålkastarljuset. Åtminstone om man ser till täckningen för hans album “SOL” som kom ut 2012. Men visst är det förståeligt, eftersom att han inte släppt ifrån sig något på väldigt länge, utöver enstaka alster här och där. Michael hör verkligen hemma hos Beläten, det är där han kommer till sin rätt, tillsammans med den brutalt råa och mörka estetik som Thomas Ekelund låter representera både hans åtagna livsuppgift – men även för de artister som hamnar under det omakligt stora paraplyt. Om man ser till den låt som lades upp på Soundcloud av Herr Beläten själv, så kommer “Spiderwoman” väl till sin rätt med sin apokalyptiska och stormiga stämning. Detta är nämligen Michael Idehalls senaste alster från hans kommande släpp på Beläten betitlat “Deep Code” – som utkommer den 12:e Maj. Egentligen så får man inte vara så här hård när det kommer till dansmusik, dessutom får man inte ha så råa övertoner, för det krossar verkligen allt motstånd som någonsin ens skulle våga sig nära tronen där han sitter.

Underjordens okrönkte konung inom apokalyptisk dansmusik i harmonisk blandning med allsköns influenser men främst den rytmiska noisevagga som han hämtar allt sitt mästerliga gift ifrån – han förgiftar oss med sin makabra uppståndelse – och slår ner hårt på de som ej redan blivit troende. Varje gång den markanta bastrumman slår ner så låter det som om själve Tor och hans hammare spikar ner den sista spiken i den underjordiska kistan. Blixtarna slår till och ger upphov till den svängiga ljudvallen som spräcker trumhinnor så långt det än må höras. Det ska bli spännande att se vad som sker i de andra låtarna, men om de skulle vara ens i närheten av detta ljudlandskap så måste vi förmodligen lägga ner tangentbordet och packa ihop, det är ändå inte lönt att beskriva den mästerfullhet som med bravur svingas i kraftiga slag mot allt vad vår heder heter. Jag ger i så fall upp och låter honom stå som nummer ett året ut. Ni kan själva lyssna till “Spiderwoman” här nedanför.

NO! Spotlight: Dry Socket / Ray Creature! [Part I]

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I found a rather anonymous label which is situated in Terre Haute, Indiana. The American label that I found is called NO! Record Label and is hosting itself on Tumblr, giving off a rather secluded interior for me to find mysterious. All the better, because it leaves much to my own imagination. This mysterious label have released two releases before those that I am going to cover in this spotlight. One of the releases are of Drekka and Assimilation – a kind of live re-work of each others live performances – but also a late introductory for me to Michael Andersons brainchild Drekka. This was actually the first release to be put out on this label. The second release was a compilation featuring the artists Drekka, NOON, John Flannelly, Canid, Assimilation and Agakus. Featured musicians working in the Bloomington, Indiana area, described by the label: “a collection of tracks that represents the loose circle of musicians that play weird electronic music together in basements, coffee houses, and bars“. But the two releases that I’m going to cover here are Dry Socket and in the second part; Ray Creature. The aforementioned a collaboration between Michael Anderson and Dylan Ettinger. I hope you’ll enjoy this write-up.

a0823392091_10Dry Socket. Having recorded a demo back in 2011 that never got released, this release titled “Violator EP” is a re-worked version of that recording. What strikes me at first is that it sounds like some kind of lounge version of industrial, together with the experimental tendencies that a mixture of their spaced out sound together with Michael Andersons vocals. The rhythm is slow-paced and steady, serving as a point of reference when listening, as the synthesizer sounds morph into differentiating sounds all over the place at the same time. When still being caught adrift by the first track, it feels like a combination of the expertise that Dylan Ettinger showed on his split-release with Goldendust on DKA Records and the gruesome experimentalism with his ambient touches. Even though a lot of the ambient heard in Drekka cannot be heard here, it feels like when they’ve joined forces, nothing is impossible. But I must say that when the song is about to end in the last three to four minutes, the windy atmosphere of what Michael Anderson can and have produced makes a turn back into ambient territory. Flaunting the beauty that can be heard through both synthesizers and other instrumentation. Next up is a sense of immediate urgency with the other track, with the outdrawn and melodramatic synthesizers that take each of their turn to whip you into the wonderful atmosphere of the track. Giving it even more of the old-school industrial sound together with screeching and violent vocals that make turbulence a must. The different passages in this song makes it even less vague than the first one, albeit the organic sounds and the synthesizers bounce on each other in a fist full of fury, it is easy to feel when it turns into something else – changing the pathway of the song. But just before the song is about to end, in the three to four minutes as usual, things get out of hand and a stormier landscape of sound can be heard before it dies out completely. The limited cassette of fifty copies can be bought from NO! Record Label. You’re also able to stream the release in full down below.

Listen: Q///Q – Q///Q

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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.

Spotlight: Q///Q – Azores Azul

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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.

Listen: Nostilevo #54 – Avellan Cross – TECHNOISE [MTN K7]

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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.

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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.

Exclusive Premiere: aska – Draumar Rætast Ekki

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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.

Listen: Sort Kat Hvid Kat – I et væk

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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.

Chondritic Spotlight: Jason Lescalleet and Sissy Spacek! [Part I]

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There have been a resurgence in releases lately. Chondritic Sound just put out a whole batch of new releases, featuring Jason Lescalleet, Sissy Spacek, Klinikal Skum and Fejhed. A video-tape and a batch of cassettes is what’s coming and a lot of people might’ve been waiting for the next life-sign of Chondritic. Even though the video-tape was announced some weeks ago, it’s readily available in a VHS-format, once more to be displayed by a proud label-owner. I think many people share his pride and find it positive with such an enthusiasm that he’s got going for his own label, as his supporters are not really few and far in between – but many. Sissy Spacek has a long line of releases that have been put out on this label, the first one being “DDT” in 2008, to “Grisp” and “Vacuum” 2010/2011, to “Billions And Billions” together with “ET Corpse/JFK” – both put out in 2013.  Klinikal Skum on the other hand, gets his first release on Chondritic Sound, ever. A rather joyous moment for aficionados in power electronics. Not to mention Fejhed, a new project birthed through collaborative effort between two known artists, one of them being at the forefront of what is produced on this cassette. Now we’ll get to writing about these releases, so hold your horses. You get Jason Lescalleet and Sissy Spacek in the first part.

lescalleet_vhs_dvdJason Lescalleet. The name might be familiar to those within the US, but also to those outside of it, if we expand his repertoire a bit. He’s been running the label Glistening Examples since 2006 – especially notable for the release “The Pilgrim” – a one-hour release with tracks made by himself, dedicated as a memorial to his late father. Or you might know him from his collaborations with Joachim Nordwall (iDEAL Recordings) with the group Enough!!!, his solo efforts and splits with Nmpering, Joe Colley, John Hudak, Aaron Dilloway – and countless other collaborative efforts signed this multifaceted man. Not only does he make music, but he’s also been directing lately. Since he released his DVD-collection he made as a creator and director, with thirteen different artists – put into thirteen different videos – he’s more than busy. This collection is called “Trophy Tape” and is based on the first CD of “Songs About Nothing“, which was released in 2012 on Erstwhile Records.

Since he with his own label decided to release it on DVD, Chondritic Sound made the effort to release it on VHS, as well. A rather interesting addition to his songs. It’s especially exciting that he’s let these video artists be film directors. The first track “The Beauty Of Independent Music” was done by Aaron Dilloway, the second “Old Theme” by Ellen Frances”, third “Tarnished Copper (Copper Will Never Be Gold)” by Annie Feldmeier Adams, fourth “The Loop” by Justin Meyers, fifth “Euphoric Sting” by Anthony Milton, sixth “Beauty Is A Bowtie (HTDW)” by C. Spencer Yeh, seventh “The Power Of Pussy” by Olivia Block, eight “Escargot” by Adel Soto, ninth “In The Morning, In The Winter Shade, On The First Of March, On The Holiday” by Neil Young Cloaca, tenth “Friday Night In A Catholic Home” by Todd Deal, eleventh “10 Amp Waves” by Jubal Brown, twelve “I Killed Another Day” by Heidi Alasuvanto, thirteenth “In Through The Out Door And Another Whore” by Robert Beatty. Outtakes from VHS/DVD can be seen from his own account, made for the Anthology Film Archives, up above. You can buy it from Chondritic Sound if you want the VHS, for twenty dollars. The DVD version can be bought from Glistening Examples.

a0609453241_10Sissy Spacek. The brainchild of… whomever it was back then, have certainly evolved from their grindcore past, to their noisecore future. Currently the home to Charlie Mumma and John Wiese, so the group has been chopped up and turned into a duo instead. It seems like it happened pretty late, after the split-release with Smegma in 2013 titled “Lipscomb b/w Absentia“, with the first release in 2014 titled “Incomprehensible Dehumanization“. Their first proper album release since back in 2012 with “Wastrel Projection” and “Contretemps” – the aforementioned one being more of a compilation of tracks – or rather a huge number of them. Before getting to the point I must say that I have no idea if Sissy Spacek is in somehow related (symbolically) to the American actress Sissy Spacek, because that’s what turns up when you search for it, other than these two guys. Anyhow, their newly released album (or compilation) is titled “Window Hammer“, featuring one of their old group-members Corydon Ronnau on vocals, since it was recorded in between the 7th May of 2013, whilst the last track on the release was “assembled” on the 9th of June. So that makes sense. The release itself is in a 7¨-format and DVDr – which contains them performing the material on the release – live from their West Coast tour. Twenty minutes of Sissy Spacek, which I’m afraid I haven’t heard of until now, is being launched at you in record speed – mind you, the tracks are really short. A proper blast in the face with a harsh but fast sound. Punk as fuck with an attitude you’d get with just that. The rather spastic vocals of Corydon Ronnau together with the brutal drums make up the atmosphere to be a lot more than it could’ve been, together with the grind kind of noise that the guitar makes. Fast drumming as hell and you won’t settle for anything less after you’ve just been blasted away in fifteen seconds or a little bit more, or less. Can be bought via Chondritic Sound. Stream the release down below, or buy the physical release to get the track “Seven Dwarfs“.

Video Premiere: FOQL – Cyril

For the beginning of summer, Niebezpieczne Zwi¹zki (Hazardous Compounds?), will put out their first release – in conjunction with their older project Kolektyw Ebola (The Ebola Collective) which was an underground collective of artists, based out of Poland. Out of the collective idea grows NZLD as a label, but right now runned by two people – RNA2 and FOQL.

As a label and artistic strategy they are focusing on the notion of disinformation. Staying true for a codex based upon different collective projects, gathering under different names – but under all the same name – in a rather morbid celebration of everything in media. Not a celebratory gesture by honoring anything, but as a spreading plague through: “…music, gigs, actions, distractions, words, system breaking, instrument breaking” and “A survival in Lo-Fi. Digitals and analogues. Dangerous Liasons. We deal with machines and humans.“, according to themselves.

Before NZLD as a label they were probably most known for their two releases on the Polish label Oficyna Biedota, namely the split-release with Arkona titled “Computape Split“, or their first release “Nag³y Spacer“ and split tape with Berlin based graphic designer Aga Wilk.  You can view it yourself on their homepage (nzld.pl).

For us whom are intrigued by mystery, it is a pleasant surprise to see them working on their own.  But a surprise it was, when we found out that NZLD is the new shape of what Niebezpieczne Zwi¹zki once was. A birth of something new, a breath of fresh air, which is only the home of two people and not an entire collective anymore. The first release is titled “Hypatia” EP” and it features a member from their collective whose name is FOQL.  She’s been active for three years, putting out songs on labels like Oficyna Biedota, Gooiland Elektro and Weyrd Son Records – with her different egos.

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This first release is a collaboration with the graphic designer and tattoo artist Izabela Dawid Wolf of Skin Yard Zin. She’s created the artwork for this release. It also marks the baby-steps of NZLD as a label, staying true to their notion of a collective – rather making everything their own – than inviting anyone. They’re currently preparing a limited edition cassette for release, but they put out a music-video created by Izabela D. Wolf before release. I managed to get a hold of that music-video and I’m now broadcasting it on my newly created Vimeo-channel. The sound of the track “Cyril” is bizarre with its overlaying power electronics atmosphere and the underlying synth-pop blended with noise. A product of an industrialized nation gone berserk. Even though a lot of what I say is true, a certain sense of beauty can be found between the layers. Which is adequately expressed together with the music-video itself, enhancing that symbolism which was earlier just found in the music. So I give to you the premiere of the music-video to the song “Cyril“, taken directly from the “Hypatia” EP” – to be released very soon. Watch as you please, in HD or SD. You can listen to the song from that release down below, too.