When everything had settled through the eyes and ears of Hélène De Thoury, she launched a duo together with Amandine Stioui – whose voice had been a wake-up call for Hélène – she adored it. Since 2013 they’ve been working together on shaping their first release, which took them a few months to put out. This self-released EP, called “Blue Moon“, quickly gained a lot of attention and appraisal from those who found out about them. Although their sound can be found somewhere in between the minimal synth and new-wave categories, their rather complex structure and beautifully laden vocals make them unique to genres fond of taking it literally when translating a fixed category into something more. There is a large hint of minimalism in their sound, but all the influences they gather together shape a uniqueness which takes them away from traps that quickly become clichés. With their new-wave sound, enchanting structures and pinpointed melodies – affect you in all the ways they might want you to feel. From the year 2013 to 2014, they’ve worked on their debut-album and now they’re soon ready to unleash it as a whole.
The french label Desire Records are releasing their debut-album “Live & Destroy” will be released on the 6th of October. Before the release, they’re playing live at the french venue La balle au bond, on the 1st of October. On the 30th of November they will go on a tour, hitting countries like Spain, France, Germany and Belgium. I exclusively premiered “Agoraphobia (Album Version)“, a track which is what I consider to be the beating heart of their record. This track is so emotional and delivers a whole other insight to what minimal synth can sound like, when transformed by other genres which overlap or have less to do with a genre like synth-pop. I think it is their strength and it sounds like they’ve worked hard on every single track. Let this be the anthem that will carry you away and put you into the mood for listening to “Live & Destroy”. Look out if you want to buy it, because soon it will be available from Desire Records. Stream the exclusive track down below.
Michael Idehall is truly a master of the dark arts. With his first mixtape ever for Repartiseraren, he goes into shadowy territory. This mixtape is an introductory to his teachings which he meddles to the listener through an innovative landscape that quickly shifts from a baseless dark ambient, to a sudden flash of industrial – bordering to death-industrial – but not purely associated with one genre. His own visions are deeply ingrained in this mixtape and it will make us mortals tremble. Everyone will have their own opinion, but we’re speaking in tongues as we’re caught in the middle of greatness. Now nobody really knows where they stand and everything will change in the nearest future. You don’t know if it’s a crack in the wall or if the world is being torn apart.
With “Svartkonster” the metaphysics of his music is represented as a theme. Depending on who you ask, the theme varies, but it begins with a false sense of security as the wave of darkness begins to catch up with you and quickly rumble into a complete storm. Your senses are clouded as his magical and hypnotizing sounds do their best to seduce you into compliance. I’m proud to be hosting this mixtape and to be working with Michael Idehall on a co-operative level. Even though he is the conjurer, I am the overseer that sees to everything being where it should be. Enter a blackened world that makes the post-apocalypse seem like a fairytale.
A lot of words can be used to describe it, but it is best to just listen to it and make up your own mind – if you’re still in charge afterwards. Illusory, steady as steel and inconstant are words that might not be apt to describe it wholeheartedly, but I feel so empty after I’ve been struck with the perfection that emanates through layers and layers of sonically charged superstition. You can trust me on the fact that it will at least not leave you indifferent, I believe it will leave you with a magnitude of different emotions – each to his own. Listen to it down below.
Igårkväll så gjorde Celldöd, enligt en trollbunden publik; en av sina bästa spelningar någonsin. Han uppträdde, precis innan legendaren Douglas McCarthy’s samarbetsprojekt Fixmer/McCarthy gjorde entré – som huvudakt. Detta utspelade sig på Nalen i Stockholm och har garanterat etsat fast sig i minnet på konsertbesökarna. Förutom att han gjorde det kan skulle och det med bravur enligt många som var där, så var säkert Fixmer/McCarthy ett ögonblick att minnas. Tyvärr så kunde man inte närvara eftersom att det rent geografiskt var avlägset. Men däremot kunde man höja ögonbrynet på ett antal Celldöd-fans med hjälp av att få lägga upp en exklusiv låt. Det var nämligen som så att Anders valde att släppa en kassett, i oerhört begränsad upplaga om tio kassetter – vars namn är “Affektiv Storm” – som enligt uppgift redan är slutsålda.
Eftersom att det var många som inte skulle få tillfället att äga kassetten, så lade Repartiseraren i samarbete med Celldöd upp låten “Våldsamt Motstånd (Mix1)“, en låt som är tagen från den kassett han hade med sig till uppträdandet på Nalen. Det är en väldigt kaosartad låt som förvränger det redan förvirrande konceptet av Celldöd, ytterligare. Man vet aldrig vart man hamnar när Anders är den som vrider på rattarna och får den ena ljudbilden efter den andra, att låta helt annorlunda. Här är det mer synthpunkigt, mer rått – primitivt som attans. Så för alla er som inte fick tillfället att äga kassetten, kan i alla fall få tillfälle att lyssna på en låt från den. Lyssna här nedanför.
Never have I heard or seen a band form such picturesque landscapes of sound, with the help of a battle-scarred theme so detached from the music itself. Though it seems to be like that, Marignan 1515 use their illusive droning to mock up every little detail, making the suggestiveness even greater. From what I can find out about “Marignan”, it seems like their name is taken from the “Battle of Marignano“, where France and the Old Swiss Confederacy duked it out in the year of 1515. It was a part of the Italian Wars that spanned from 1494 to 1559, which was a series of battles during the Renaissance that were also aptly called the Habsburg-Valois Wars. There were different belligerents fighting against each other throughout those years, bu the Battle of Marignano was won by Francis the 1st and resulted in the “Eternal Peace” the year after, where they sought to resolve future battles with diplomacy and judicial resolutions – instead of on the ground, against each other – on a battlefield.
I think this first self-titled release by Marignan 1515 symbolizes both the struggle of the battle itself, but also the calmness and suggestiveness of peace-times. Will there be another war or will it be solved through other measurements? There are a lot of questions that pop up in one’s head when you listen through both sides of this release. Both tracks are almost twenty minutes long, the shortest at 17:48 in running time. Even though I like their sound, the aesthetics of it all and the historic connotations make listening to them even more enjoyable. To mixture with shoegaze, ambient and drone is perfect for this setting. I am amazed at how their sound is so calm in regards to what they portray, but I am also fighting the urge to want it to be anything else. This is music to be listened to when you need to have some time for yourself and reflect, because their outdrawn melodies and basic structure of the songs develop slowly for your listening experience. Take your time, listen to everything down below. These Frenchmen know what they’re up to.
After daring splits with America’s unknown, his journey starts anew with a second full-length album. From Horders to Crawl, to Feral and Wrecca – everything since the first album “That Place Now Forgotten” have included others. The Way To Light is Austin Rathmell’s dark folk meets ambient solo-project. He is now back to serve you with an album that strays into the wilderness completely, it is titled “Cleansing Silence” and with it he enters a whole new phase in his artistry. For the first time he gives more room to the ambiance to speak for itself, and takes away a little more of the acoustic elements which he held dearly within his other releases. It is a darker and more frightful environment that he sets ablaze with his uncompromising ambient. One thing can be said about it and that is; oh how he borders on the gleefulness of dark ambient, though his harshness yet not be mastered.
The length of his tracks continue to increase and leave more to the imagination. We’re astray in the wildness that is urbanity, but he leads us back across the plateau and into the forest. We are in desperate need to be connected with whom we came from. Our roots are in need of rejuvenation. His voice contributes to speed up the changes within the sound-scape he’s working in. There’s a calmness but also urgency to each voice he whispers. According to himself, this is what he wanted to conceive with his forthcoming release:
“Cleansing Silence is an ode to that which can only exist in a solace of silence. Where other humans vanish and all that is left is your narrow path, you will see light. You will see. Yourself. You will see. All.
A solid blend between acoustic dark folk and atmospheric ambience, more so than ever before. Each track has its importance, whether an ever endless drone or layers of acoustic work, each note, each word, a mere thread in a cloak of this album.“
His second album will be self-released on CD and distributed through Neuropa. The second pressing of this album will become available on vinyl, but I will not reveal where it might turn up. Time will tell. You can now listen to a track, exclusively from this forthcoming release, titled “Hollow Roots” – the second track on this album – on Repartiseraren. Stream it down below. If you wish to buy it, you can do so on the 3rd of October either from Neuropa, or his own outlet Hollow Haven.
Aldrig har jag varit så mycket för Marie Davidson som nu. Egentligen var jag inte särskilt imponerad över “Perte D’Idéntite” som släpptes på Weyrd Son Records i mitten av året. Men att hon nu tillsammans med J.S. Aurelius, främst känd för det originella skivbolaget Ascetic House och som är en medlem i gruppen Destruction Unit, gör en split tillsammans – kan bara innebära en sak: förändring. Vilket i sin tur innebär att “L’Espoir Est Mon Sentiment Le Plus Noir” blir en av de första låtarna som jag kan känna är acceptabla. Även om hennes tidigare alster inte skinit likt solen, så gör denna låt att man återigen börjar tro på att hon kan leverera någonting stabilt. Atmosfären är alarmerande, den är instinktiv och primitiv på en och samma gång; lägg till en stabil rytm med synthar som gradvis stegrar upp och sedan faller ner likt furor. Under låtens gång så blir man mer och mer på hugget, man börjar undra om fru paranoia gömmer sig bakom gardinerna eller inte.
Även om man kan påstå att “Vaste Obscurité” – som levereras med fransk låttitel såklart, innehåller en hel del spänning – så slappnar man av efter att ha fått igång sitt system. J.S. Aurelius låter en avskalad ljudmiljö utvidga mina sinnen. Det känns som om man flyter i ett orörbart tillstånd. Man bara existerar för att höra vad det är han kan ge en och ens sinnen. En ljusglimt kommer lite då och då, ibland hör man ett sprak, vid nästa hörn så öppnar sig hela universum för en. Om man inte redan vid låt nummer ett på denna spliten har öppnat upp sig själv för musiken så kommer man inte att tycka om den. Däremot måste jag ge dem att de är skickliga musiker och kan det här med att bygga upp ljudmiljöer; för att sedan rasera allt. Men det finns fortfarande kvar någon slags mening i spillrorna av det som varit. Denna split-7:a släpps på vad jag antar är upptakten till ett performance, men som även verkar vara ett skivbolag vid namn Neuromodulation.
Den 26:e September går en live-show av stapeln vid namn “Mysanthropologie“, där The Hand In The White Glove, Klondike, La Naegleria, Police Quest, Ater Charta och Unstained By Thought uppträder. Detta är dock ingenting som har med Ascetic House att göra, utan snarare har allt att göra med Neuromodulation – där samarbeten uppstår när de kan utföras. Lyssna till bägge sidor av vinylskivan här nedanför.
Very much have changed since Schonwald came upon us with their debut-album “Amplified Nature“, released on Pocket Heaven in 2008. From indie rock with synth-pop overtones to pure synth-pop in five years, when they released their double-single “Mercurial / Gemini” – which was dedicated to their freshly made synth-pop endeavor, on Hozac Records. Since then one year has passed and they’ve been welcomed into a place where they fit all too good. This place being Anywave, the french connoisseur for everything from dark ambient to cold wave and minimal synth – to virtually every other sub-genre you could think of. Here they put out a taste for what is to come with another double-single, this time called “Rays“, featuring two tracks from their forthcoming second album titled “Dream for The Fall“. Many things have changed but their signature has stayed the same, they’ve just engineered a more intriguing sound with futurism embedded as a central part of it. Dreamy, thoughtful and sincere are three words that can be used to describe their forthcoming album. They leap into a peripheral landscape of sound which reminds one about shoegaze – if it ever would fit into an electronic shape. Ethereal might be one of the better descriptions genre-wise, but they lend much of the influences elsewhere, too. Like cold-wave, minimal synth and post-punk.
I’ve gotten the honor to premiere a track from their forthcoming album. It’s a more bombastic track which I think is separate from the other tracks, but it’s also a great summary of the album at hand. Driven by the groovyness of a baseline that with post-punkish fervor tears into the dreaminess – creating a nice paradox. This track is titled “Achrome” and is the fourth track on “Dream for The Fall“. You can listen to it exclusively from Repartiseraren and note the date of 25th September – which is the release-date for this beauty. It will be featured on CD as well as vinyl, and you can pre-order it from Anywave or Manic Depression Records, as it is a co-release between these two labels. Pre-order it already and receive the whole album digitally and ready to be downloaded, or buy it separate if you wish. Everything on this album was recorded and mastered at Duna Studio, except “Rays” and “Lower Lovers” – which was recorded and mixed at Silver Veins Studio. Post-production was made by Aurelien Delamour, and the cover was designed by Myriam Barchechat.
Cryptic aesthetics are what the Italian post-punk group Caesar Circles want to showcase. For some reason I think about Dan Brown and his book “Da Vinci Code” when I see the illustrious artwork representing their first release “E n c r y p t i c“. An upside to what they’ve done with their four-tracked release is that they’re singing in English, because I personally can’t stand post-punk from Southern Europe whom choose to vocalize their songs through their native language. What I can endure is post-punk in the Icelandic, Swedish, or English language. There’s really something unique about the Anglo-saxon influence and feature that make it worthwhile. When it comes to their post-punk, musically they have a touch of that melancholic sound that combines alternative rock, post-punk, new-wave and psychedelic influences.
The up-tempo and melodic content that gets through the cracks thanks to an overt new-wave touch make it all the merrier to enjoy. It is really enjoyable that they’ve chosen to route it through a hint of psychedelia just to give it a bit more of a unique sound. Though I am really not a fan of the post-punk that is underlying, when the sound is bridged to the chorus and back again. But I must admit that Caesar Circles make the best of it but I think the general carelessness in the singer’s voice is hard to bear. Because they unfortunately drift too far away from the originality they deliver with post-punk, when they grasp new-wave too much and almost delve into indie-pop territory. Other then that, I really enjoy the darker touches that gets applied to the sound-scape whenever post-punk seeps through the cracks and when you hear a psychedelic riff tearing through and bringing forth another part of a song.
You should listen to it because it is a worthwhile release, as it’s mostly intriguing to listen to. It features the four tracks “Control“, “Wall of secrets“, “Rough Trade” and “I/O“. Personally, I find “Control” to be the best song on the album. Caesar Circles is Simone Cetorelli (song), Andrea Triestino (guitars), Paolo Fraddosio (bass) and Alessandro La Rosa (drums). The album was recorded at VDSS Recording Studio and the artwork was crafted by Alessandro La Rosa. Stream the album in its entirety down below.
The first thing I would think about when it comes to classic industrial music is – provocation. Many of the artists and groups from back then gained notoriety by doing just that. Whether it came to taboo non-politically correct topics about virtually anything that doesn’t hold root in modern society. Often challenging the “norms” of yesteryear. When it comes to White Christian Male (Dennis Hudson), I don’t really think it holds up to that standard – considering that the tables are now turned and political correctness seep through everything. I’m not sure if he’s trying to be provocative with the name “White Christian Male“, or if he’s paying heed to the white christian male. But it surely is an eye-catcher which makes you want to see what it is like beneath the layer of provocation – intentional or not. His music can be held to a higher degree because of his sheer craftsmanship when it comes to the beats, atmosphere and whatnot. Everything falls in place with an interesting sound.
It came as a surprise to hear a darkwave-coated synth-pop sound when you see the iconography and plus one with one. This held true when it came to his older tracks, which are actually pretty good considering how lame darkwave tend to be in most cases. Since then, he’s transcended his old sound which was marked for departure with his track “Live It Down” on the Chromatin Records compilation “Artificial Selections“. Note that he’s not left the influences taken from darkwave, but rather stripped the melodious synth-pop sound and put a harsh industrial surface down instead. Even though it holds true to some of his other tracks, like covers of “Blue Monday” and “Warm Leatherette” – he’s simulated his way through experimentation – paying his dues to ambient as well. Before he went all out industrial, his covers show an organic process of ridding the more melodious content, stripping the sound down and going into industrial for real – but only in the rhythmically and melodious sense to begin with.
Therefore I have gotten a track from him, namely the seventh track from his forthcoming release on Chromatin Records. The track is titled “Infection” and is featured on an album that will go by the name of “The Jagged Womb“. Hear the mangling sounds that will make a resounding noise each time it crackles skulls. A barren industrial landscape with bleak metal as the only surface you’ll ever feel. Dive down into a steel-bath which is only preserved to hold the utmost contempt towards humanity. A pain that is so real that you can feel it, feel it linger down your spine and leave you breathless. It is an immense experience to listen to “Infection” and I now get to share it with you exclusively. It features a long industrial opening, a first part if you will, which by the second half of it turns into a maelstrom of darkwave, minimal synth and industrial combined. Stream it exclusively down below and see to it that you buy his album when it comes out on Chromatin Records – in October.