From darkened shamanistic rituals in pre-medieval ages, to the futuristic hopefulness of ritual ambient. Somewhere in between that and if you slice a big portion out of it, you’ll find avant-garde to be a part of their repertoire. Hadewych is just that, somewhere in between the looming avant-gardist ritual ambient, but with undertones of primal rock’n’roll with metal. When their debut-album emerged back in 2007, they were more concentrated on neo-folk then anything else. Somehow, they combined the efforts of their industrialist past maxi-single “Ende” from 2004 with the urge for something new in 2014. Therefore the release I’m about to talk about now have some roots found within it that can be hinted back to their latest release up to date, called “Ēoh” which featured a mix of old rehearsals to proper new tracks. It’s a perfect transition to what’s to be called “Nu“, where they break their old bonds and move forward into the sound which they’ve concocted over the years. It has somehow always been present in one way or another, but simply not been formulated good enough to have been harnessed earlier. Black Horizons is the label they’ve set out to be a part of with their forthcoming release, as it is being put out on a limited cassette by that label. With clever signatures like Hodiamont, Jongen, Scramasax and Lucia. M – Peter Nÿland or Nÿland II as he is credited as on “Ēoh” – have the world at their feet. Some of these members have also contributed to a track on the acclaimed compilation “The Totality Of Death” by Trepaneringsritualen (Thomas Ekelund). So no wonder if any of their influences might’ve been caught up from Thomas Ekelund. Peter Nÿland is also a part of the mysterial duo Distel, which have also garnered their following with releases as “Puur” and “Ultra2012“.
Now when they’re almost ready to be put out on Black Horizons on the 79th release on that label, things looked bright for Repartiseraren. I got the opportunity to pick a track from this three-tracked release, whereas it so happened that I chose the dark side. With that I mean the atmosphere of this track is so baseless yet fluid, as it is backed up with organic instrumentation which is not electronic to the least, or so it seems. A gloomy landscape which is complemented by the whispering of Peter Nÿland and his authoritarian voice. Since it’s featured on the B-Side of this cassette (C18), there’s a notable difference from this one and the other tracks – even though it can be contested that they’re dark too. But this is something difference. The slow build from a drone-ish landscape moving forward with a complex rhythm that suddenly slides through the landscape at a macabre speed – not to be confused with tempo – is enough to love it to your heart’s delight. You can find virtually every piece of equipment and more than that with this track. Everything from classical instruments to different musical instrument you might not find anywhere else. Or not utilized as good. As the wind is breaking through the landscape of sound, I gratefully present to you an exclusive track called “Riss“, a track that will take you into a whole different mood and also play with your sense of belonging. Listen to it exclusively down below and buy it from Black Horizons when it comes out.
After having spent my days in another country, on an island, I listened very much to what I got handed to me by Keluar. This was some time before “Vitreum” was due to be out on Desire Records, so that’s precisely what I was listening to. The combination in arms between Sid Lamar of Schwefelgelb and Zoé Zanias of ex-Linea Aspera is such a damn great collision of the best of worlds. Now they’ve just put up their self-titled album release “Keluar“, which combines their both EPs “Ennoea” (the first) and “Vitreum” into one – alongside two bonus tracks “Cleo (Soft Riot Remix)” and “Coralline (Distel Remix)“. Which is a joint release that was also put out by Desire Records. When it comes to their sound, I believe that I am in love. The craftsmanship that both of these people enjoy is formed into a luminescent landscape in a combination of minimal synth, wave and the experimentalism that they themselves put onto it. If you combine that with the strength in melody that new wave gives them, you’ve got a dreamy landscape which shapes the forthcoming lights that shine upon your face – as in a kind of religious experience. Every little detail that is chiseled out is part of a wider array of magnificence. Most of the songs are actually of that caliber that you’d simply want to listen to them over and over again, remembering each tracks unique character. With a little help from the new-beat meets darker electronic body music (but really not), they channel our darker sides and manage to shape a current of volatile electricity that is about to snap and crackle, but then suddenly something else enters the landscape of sound and circumvents that intention.
The lyrical content of this album is also astonishing. Everything blends in well with the form of vocals that Allison Lewis decide to deliver. Sharp contrasts in between outdrawn sighs of lyric content to the almost despaired cries of misanthropy. With the ambiance that creates a shroud of mystery around it, her voice pierces the bubble in which the shroud is covering – showcasing the naked truth from inside – with her clarity and deliverance that signifies what she’s all about. She’s in for it all and can’t wait to strike you down when you least expect it, whether it might be after a crescendo of electronic beats or the suggestive atmosphere delivered with a percussionists precision. I urge you all to buy this album if you really like it, because it might be one of the best albums since Distel entered once again and got their album “Ultra2012” put out on Beläten. Giving me a grip once again to embrace electronica that has that experimental touch and can deliver what it is said to, or even more than what I’m introduced to. You can listen to “Keluar” down below.
In Brooklyn you find a band that has its roots down under, but above the ground they reside with post-punk overtones. With their interesting combination of metal, experimental rock, post-hardcore and post-punk they make way for who they’ve become. Since they haven’t been around for that long, let alone put out anything besides their newly released “Make Room For Waves” EP, it’s great to hear something fresh once in a while. With this comes Husbandry, whose singer sounds like somewhere in between Katzenjammer Kabarett‘s original misanthropic tone and the rather mesmerizing moments with the band reliq. Together with the breakdowns of pro-longed post-hardcore junkies caught in a time-machine. The band itself consists of Carina Zachary, Jordan Usatch, Arnau Bosc and Andrew Gottlieb. The fascinating thing about this release is that it was recorded during a weekend back in April this year, which makes it about a month later that they’re releasing it for the world to listen to.
So I got the opportunity together with Husbandry to put out one of the tracks from this release, on Repartiseraren. The track wasn’t really chosen by me to begin with, but I think it’s their best track on this release by far. Because in it they showcase the greatness of structured post-hardcore with post-punk baselines that soar through the landscape, together with erratic drums that keep the tempo to a max. Just as they come into some kind of weird medley whereas Carina Zachary with her vocals make it an endurable process to listen to, as it moves back into the sound-scape which they created before. Moving back to the intermezzo once again in another part of the track, making it a very predictable but at the same time unpredictable track. I simply adore the melodies that are laden before me when you’ve taken yourself through it, together with cluttering hi-hats and complex rhythms howling in the background as the vocals feel even more dedicated and soulful. The track chosen for exclusive premiere was “Biralata“, a six-minute long song which you can listen to down below. If you’re interested in buying their album you can go to their Bandcamp.