Lyssna: Kord – Horisont – 7¨


En oväntat men på något sätt väntat släpp från FlexiWave. Johan Sturesson och Annie Gylling i ytterligare ett samarbete, med två hängivna låtar som resultat. En egenartad dyster synth-pop som märkt och stämplad för just December, då det släpps. Det läggs väldigt mycket fokus på lyriken och Annies sång, musiken blir nästan sekundär men är ändå där i bakgrunden, levande och ständigt pulserande. I den första låten, “Horisont“, blir det nästan till en sorts teatralisk och minimalistisk synth-pop utsmyckad i cold wave.

Men istället för att vara för distanserad så är den ständigt närvarande, det är särskilt ett stycke när Annie med all hopplöshet kastas ut mot lyssnaren och hon sjunger: “Vi gräver neråt, tills botten är nådd“, och man får nästan rysningar i kroppen över hur nonchalant musiken i övrigt bara fortsätter vidare. Riktigt kalla vågor som egentligen bara verkar vara FlexiWaves signaturmelodi – om man rent metaforiskt får vara så fräck – att anse att de sedan länge haft något eget på gång, i form av sina släpp.

Den andra sidan, b-sidan, är något helt annorlunda. Någon slags glittrig discodänga som svänger sina lurviga till acidvals, man vet helt enkelt inte med Kord – det är ju det som är tjusningen också – att allt helt plötsligt kan skifta till något helt annat, rent musikaliskt. Skickligt nog lyckas de med bedriften att göra annars ointressanta genrer till något eget och intressant. Här är musiken också mer delaktig i den atmosfär som byggs upp, även om Annies sång får en framträdande position – som sig bör.

Lyssna till låtarna här nedanför och beställ sjuan när den kommer, den 15:e December.

Listen [November Edition #3]: Egoprisme – EP#02


Overly melodic and suggestive minimal synth from France. Egoprisme takes it up a notch in terms of the melodic content not usually found within minimal synth. It could be because of the influences that lay in cold and dark wave, but it could also be because of the ingenious rhythms that they’ve created – which bring out a melancholic vibe – alongside the french vocals, which help the atmosphere of the song to rise from ash and beyond.

En Secret” is the entry track, a creative picturesque song which helps to conjure up a certain mood – there’s a vibe to it that is unmistakenly danceable. It’s really a dancefloor song for the more melancholic of us, for those longing and missing someone. Nostalgia is heading into full swing and brings with it synthesizer melodies and creative rhythms that change and develop over time, it’s like an overlaying texture of multiple synthesizers – shaping the song to have a monstrous atmosphere. A leviathan of a creation in itself.

WhenLa Plage” has such nice percussion to begin with, it is not easy to turn yourself off from the song. Two claps later, some synthesizers and sombre riffs, plus the majesticness of the general atmosphere – this song is somehow even better then the first one, which is ridiculous considering what craftsmanship that went into the first song. This song is coherent, structured well, enough to be a nice trip into your innermost feelings, through music. There’s really something about the french minimal synth/wave-scene that have kept giving since years back.

Here’s where things really turn into something, as “L’incandescence” is a collaborative track with Mode In Gliany, an artist premiered on Repartiseraren some time ago. His creativeness when it comes to the rhythm and melodies, make for an even more ambitious song, as the synthesizers organically move along with the rhythms, not to mention the vocals – which are so on point in this track that it is ridiculous – the sombre attitude that the french language delivers is perfect for this kind of music. Heck, it was meant for this.

Lastly, with “I am the sun” they stray away from french and incorporate a bit of english into their lyricism as well. This collaborative track with D. Jestin have some really monumental synthesizers that would’ve made for a great instrumental track, but the broken english doesn’t go too well with everything else. Though there is something utterly sentimental about the singer’s voice itself, not so much the lyrics, which makes for a good comeback – in an otherwise perfectly fine song.


Exclusive Premiere: GHXST – Stories We Tell


GHXST return to Clan Destine Records with their second release in their discography, titled “Perish“. Last time they released anything via this record label, they had their album “No Rest For The Wicked” released – back in 2011.

With vocals by Shelley X, the song “Stories We Tell” become an ethereal piece of music, the experimentation takes you way out of the normal doom pieces, as they include post-rock into their soundscape. It creates a moody, outdrawn, wasteland-esque atmosphere which ultimately makes for a great song.

It transgresses into the sound of their earlier release, as the undertones remind you more about the combination of post-punk and experimental doom – and how it would sound. Heavily relying on the general theme that a great doom-record could be able to produce. The mixture between these genres result in a very eerie song in general.

The drums are on point, steadily moving forward with the rest of the instrumentation, there’s a sullen outlook portrayed in the dismay of the lyricist Shelley X’s voice – and it never goes out of speed with the rest of the atmosphere, it fits like it should and it sounds like it was meant to be there in the first place.

GHXST have created a wicked blend of experimental doom and post-punk, with other influences also counted for, of course – there’s a hint of gothic when it comes to her vocals – and there’s also those overlying industrially-themed drums that makes you think of Clan Destine Records immediately.

Not to mention how there’s a medley baked into the music itself, a rock’n’roll riffing that kind of catches you off guard as you weren’t expecting such a solo by the end of the song, whilst you were looking for other influences that garnered more interest – but it’s a nice touch that definently makes the song even greater.

Buy the release either digitally or as a pro-dubbed cassette.

Listen [November Edition #2]: Markus Midnight


It gets colder, even colder the closer we get to December. But remember, this is the November edition. Now here’s a complete EP signed Markus Midnight, a gothic-influenced industrial and synth-pop adventure through emotions, cold wave splendour and lurking beats with melodies that swiftly have the upperhand, as in “Addiction“, where the vocals are secondary to the beats themselves.

The song slowly develops into a mish-mash of every genre aforementioned, what separates it from every other artist is the darkly cloud laid upon the music itself, where the atmosphere is what becomes the most important thing, to notice the nuances in the changes of the music itself, as you have to pick and choose between the different influences – which one you like the most – but it is a strong first song anyhow.

Next up is “Blutgeld“, a more beat-oriented endeavour which continue in the same manner, but there’s a certain rhythmic sense to the song and especially the first introductory synthesizer and beats are satisfying. The vocals could’ve been stripped from the soundscape itself as it adds nothing to the whole atmosphere of the song, except when you hear the chorus – then everything becomes clearer – it fits better there.

This is certainly what sets the theme of the EP itself – because it IS the theme. It’s good that you can create music that go into different directions but still remain coherent to the aesthetics of the EP itself and don’t stray too far away from the main concept itself. There are some things that would be needing some polishing, but as far as I can tell, it is a solid industrial synth-pop piece with cold wave undertones.

I don’t really know what to say about “So Beautiful” – it should’ve been stripped from the EP completely – because I don’t understand the point of it. There’s nothing beautiful about it, it’s just out of place. In comes “Misery and Despair“, which is more adherent to the industrial and cold wave influences that Markus Midnight is experimenting with.

There’s a certain repetetiveness about the atmosphere which bugs me a little bit, but hey, you can’t have everything. Otherwise, if the soundscape would’ve developed even the slightest, that would’ve been great. However, there’s a certain brutish nature about the song that keeps one listening to it. The vocals themselves don’t do anything at all, it is just a layer upon another layer of industrial and cold wave music.

Now things get really interesting, with “Burning“, a track that is more minimal synth-oriented and bring forth a nicely laden melody which sticks in your head. The vocals here are not out of place either, but certainly more ambitious lyrically and together with the melodies that are laid upon one another, the song slowly progresses and builds up to something monumental. It lingers for a bit and that’s perfectly fine, because the melodies are constructed in such a manner that they do not take out each other – they complement one another.

It’s interesting how he manages to swing this song in just like that, from out of nowhere after quite a disappointment. Enjoyable, to say the least. After that song, along comes “Every Sin is the Same” which is the most gothic-oriented song on the EP itself. Except the awkward samplings, the song itself is not far removed from being a good, enjoyable post-punk and synth-pop goth song. If they had been stripped and removed, the song would’ve had a whole other outlook, in terms of the music.

But the chorus makes up for that mistake. It’s a simple but straightforward build-up into a maelstrom of emotional content, as the drum-machine is complemented with beautifully laden synthesizers and underlying riffs that create the best of the three worlds it is influenced by.

Deeper and Deeper” is a great minimal synth song. Overall, it slowly builds up from scratch and introduces more instruments the further in it gets. As drawn from more ambitious melodies that clash with the vocals time and time again. The song itself is mysterious from top to bottom, but interesting in terms of that it’s like this it should be. Not that you should strip away any of the other influences, but the song is more coherent then many of the others.

Krankheit” is that perfect atmospheric synthesizer outro. I don’t understand why these melodies need to come last, they’re great and should’ve been included more into the soundscape of the other songs. They have more depths and the melodies are really pristine when it comes to it. Too bad. There’s a simplicity about the whole atmosphere that goes further then many of the songs on the release alone. But I must say that it was quite an enjoyable release to listen to, but it could’ve been better. Perfect ending, though.

Listen to the EP down below and buy it from Bandcamp digitally.


Exclusive Premiere: Sana Obruent – Prince Of The Air


Repartiseraren is proud to bring you the exclusive premiere of Sana Obrurent’s album “Prince Of The Air” – as re-released by Blackjack Illuminist Records on the 2nd of December. Descend into the abyss and out of it again, as this gripping piece of music takes you on a journey you’d never expect – an unexpected trip to your wildest imagination – but also a trip into pure beauty.

How refreshing it is to hear a proper, ambient release, by a smaller artist – someone like Paul Lopez – the creator of Sana Obruent. In his first track on this release, you’re invited to a dreamlike trip into beauty. The song is titled “Semper Et Valete” and is a collaborative track between him and his brother, Anthony Lopez.

It is as if you’re flying, as if you’re high above the sea, on a journey to somewhere far away – somewhere that isn’t now, it’s like a timelapse, nostalgia has flown with wings of her own and carried you with her. Even though this piece is only three minutes long, it feels like a lifetime – in a good way.

There’s something wondrous about the repetetiveness, but it gradually changes after time goes by, and for a song that is this short, is a feeling on its own. Even though there are hints of darkness, melancholia if you will, there’s something uplifting about the song as a whole.

Ut Memine” is also a piece to be reckoned with. The build-up to the crescendo is much slower, but there are different phases of the music which you’ll have to pass by and even though it may seem monotone at first – there’s a lot happening on the sublime side of things. Imagine this as a lucid dream, or as being beneath the sea – somewhere in the depths – checking out the coral reefs. When listening to this song, it feels like you’re way out at sea, or in the depths of it all.

Maybe you’re still above surface, out on a bridge somewhere, there’s something lurking beneath but you don’t care too much about it. It is a peaceful song, like slow waves around the coastline – or as a cinematic way of portraying the sea and what a unique place it can be. There’s also a theme to it, maybe it is not the Nordic seas that are being portrayed, but rather somewhere in California – in the midst of The Salton Sea.

Here’s where everything goes dark ambient. A still image, a portrait, something is amiss. “Expecta Me” is a more subconscious song, as if there is something lurking in the shadows. As if there’s something watching you, there’s a kind of paranoia embedded into the song itself, someone is there but what is going on, really? Is it a song to trick the mind of the feeble? Or is it, in general, a good portrayal of what haunts us inside.

There are many questions that arise when listening to this song. It is scary. It is at the same time far away, but close and nearby. After listening to it a few more times, there’s something about the uncertainty that makes you want to turn the song off. It is haunting in the worst way imaginable. It never ceases to exist, it still is there somehow, even though you don’t want it to.

Enim Celeste” is a wintry passage. Like passing through a mountain and the only thing you hear on the other side, as it is winter, is the cold, chilly noise of the wind itself blowing against the side of the cave, also into the cave. A steady flow of rhythm is created through this ambience – a flow that is menacing to say the least, it doesn’t really make you want to climb mountains in winter.

There’s a certain picturesque side of it which is likeable. While being inside, that is. It would be cosy to be near a fireplace, rather than being in the midst of what this song is portraying – even though the glittering, fading snowflakes and general adventurous nature of it all – can seem quite exciting at the first glimpse of it.

Exiguas Pause” is a transcendental song. We’re here and now transcending into something otherworldly, like the bell chimes ring and how nature sings – however, we’re stuck in some kind of limbo, unable to move either back and forth. It’s a peculiar thing, it’s moving slowly towards us as we accept the fate we’ve been given. A mental prison, but a freeing state of mind at the same time.

The song slowly develops, as it sets the tune of this album that is the dividing line between the first couple of songs and the more dark ambient-oriented songs. It is eerie at the same time, there’s a tone to it that is subconcious as heard in previous songs, and it slowly fades away in the end like it never was there, like our mind played a trick on us, as set up in a musical fashion.

Suddenly, pleasurable. With the song “A Day Mense Augusto” – every negative emotion felt throughout the listening session of this release itself, fades away. There’s a positivity in the atmosphere that lurks within your brain and puts you into a lull. Nothing is even remotely going to hurt you, nothing will irk you even though your brain might be telling you something different – because there’s a switch that goes off in your brain whilst listening to this song.

It is emotional, in a good manner. A long-runner as well, in terms of length, clocking in at ten minutes and twenty-three seconds. Somewhere along the way, I was wrong that it was the dividing line between dark ambient and the more lighter, musical pieces. It is more complex then that, playing on the strings of human emotion.

Expergiscimini Et Somniantes” threads the same path as the aforementioned song. It is like a continuation of the well-being of the last track. But there’s a certain undertone which isn’t prevailent in the other song which makes this song heavier in a sense. There’s some kind of claustrophobia, when the synthesizer vibrates slowly and resounds. You’re stuck in a good place but you don’t really know what to make of it.

Slowly, everything descends into pure hell, as “Memories De Furtivae Praeteritlus” create a fear within me. I am trapped between the good and the bad, the evil and the wicked, something is brewing outside that I don’t want to face. There’s a very transcendental theme to this song as well, but not in a good way. It is what ever you fear the most that has entered the picturesque, it is a disturbing piece and I turn it off because I can’t bear the negative emotions.

What a trip through heaven and hell. This record is not for the faint of heart, I tell you. It is a menacingly good re-release and it paints up the good and bad in everything. This music is not for you if you’re not willing to face what haunts you, or if you’re not willing to make your way through the picturesque, into heaven, through hell again.

There’s an uncertainty about this record. I don’t like that it hits so emotionally, that it is crafted in such a manner that it is bound to be emotional. Paul Lopez is very skilled at this, which is noticeable throughout. For those looking for a varied release, this is what you should aim to get, if you’re into ambient and dark ambient – brooding, droning pieces of music that seem to continue forever and ever.

Get the re-release as a CD, cassette, both, digitally or whichever way you want, down below.

Listen [November Edition #1]: Ossuary Severe


Ossuary Severe is an interesting band from Forth Worth, Texas. They really know how to evolve within the boundaries of noisy post-punk, experimenting with both the underlying rhythms and the baselines to get that perfect, sharp, longing soundscape that together with synthesizers remind you of something that could’ve been twenty years ago. Sharp, concentrated riffs that hit that nostalgic nerve within you.

Their first demo isn’t that convincing when you hear the introduction, but they get you with a swift kick to the chin in “Coldest Hearts Bleed” – the riffs that come out of nowhere are piercing, together with the general atmosphere of the music – sure it is still a demo, but it is a nice song to listen to. Especially if you’re interested in the more experimental and alternative side of post-punk.

When the song “Harder To Love” comes on, the melodies are simply out of this world and the rhythm reminds you more of a death rock-anthem then anything else. There’s something about their ambition to construct the most wild, yet amazing atmosphere that has one rocking back and forth to each song they spit out. Everything is on point for this band, and each song that kicks in after the other is different – yet alike when it comes to how great overall this demo is. A really great effort for a band that has yet to release more.

Pothos’ Awakening” is a maelstrom of interesting melodies, a barrage of drums and slick baselines that go into one another like they were more stubborn then the other. Then the chorus kicks in and everything becomes a little more concentrated, just to unleash the fury that is within their dreamlike soundscape. It is like a dream and a nightmarish experience compiled into one.

Exclusive Premiere: Collector – Twin Houses


Spiked industrial techno for your own well-being, or might it be destruction? At least it’s temporary massage for your darkened soul.

In collaboration with Clan Destine Records, we bring you this noisy endeavour signed Collector, as everything comes tumbling down upon you. With his release “Life After Olympic Gold“, we go a bit deeper into the tunnel and end up on the other side. Industrialized techno that goes way beyond the normal – into an icy soundscape that eventually burst into something beautiful.

The atmosphere itself lingers along with the synthesizers, until it finally displays what it has been carrying all along – a sword of ice – pristine, glowing in the wind as November’s ending and December is in full swing just a week from now. Fittingly enough, as shared on the coldest blog-zine in the north. Cold beats for a cold heart – but for those willing to see beneath the surface – there’s beauty to gather, and lots of it.

There’s something special about this song itself, metaphorically speaking, imagining two houses standing in the midst of an all-out blizzard – as the beats come crashing in, as you desperately try to hold out for as long as possible. Then for a couple of seconds, everything fades out into silence – and there you are – in the midst of a chaotic blizzard, but have you even made it? Who knows.

Say what you want about his music, but it doesn’t sound half-arsed and uninspired like most of the techno which is put out in 2016. There’s a concrete soundscape which develops from horror into pure beauty, there’s a willingness to experiment which is the Clan Destine Records signature – having heard almost the whole discography itself.

Buy his music from Clan Destine Records, either digitally or as a pro dubbed cassette.

Exklusiv Premiär: Vargkvint – Brus


Vargkvint sammanfattar den svenska melankolin, bygger en brygga över till en engelsk version av denna melankoliska aspekt som alltid har präglat Sverige på ett eller annat sätt. Väv in det med, vad sångerskan själv hävdar, är ett soundtrack till John Bauers sagoillustrationer. Allt detta i ett, lyckas hon förmedla, med ett väldigt magert musikaliskt innehåll – på ett fenomenalt sätt.

Hon lyckas att få någonting så komplext att låta enkelt, men samtidigt som enkelheten vävs in i form av melodier och rytmer, så framkommer det också något riktigt vackert – som ligger och lurar i vassen, någonstans långt därute – invid en sjö.

Naturnära musik som berör på ett djupare sätt än vad man är van vid, folkmusik skulle man kunna kalla det men utan att lämpa in musiken i någon form av fack, så kan man gott säga att det är något mer meningsfullt än bara det. Sofia Nystrand lyckas locka fram det underliggande vackra, musiken är sublim på ett grandiost sätt, ibland är den bara sublim – det behövs inte så mycket mer än så.

En påminnelse om någonting svunnet men något som ännu inte är förlorat. Nostalgin reser ragg och spottar och fräser, för detta är sannerligen inte en nostalgitripp – utan något nyskapande som grott fram ur något beprövat.

Repartiseraren kan stolt premiärspela hela släppet, exklusivt, en dag innan det släpps på riktigt, det vill säga den 25:e November. Lyssna till hela släppet via Soundcloud.

aufnahme + wiedergabe = ursprung


Aptly titledUrsprung” (Origin, in Swedish), Veil Of Light incorporates even more despair and decay into an alluring, complete body of music. Having not heard his music for a while, you can’t even imagine what a leap he’s done with this album itself, as the synthesizers melodies become more complex, the beat of the drum more harsh, the lyrics stay the same – but his vocals are even more maniacal – as heard in the first track “Soma“. From silently passing by, to increasing in speed, and eventually metamorphosing into an intimidating musical piece that reaches its crescendo near the end – complete with the total blackness in the instrumentation, everything’s in a shade of darkness.

Trust” is the perfect combination of minimal wave, synth and cold wave. Especially the melodies are strong in this song, the rhythm basically stays the same throughout, but eventually changes when the chorus smashes its way in. Here’s where despair can be found, where there’s no return from the coldness that sweeps in over you. Basically, what Veil Of Light have mastered with this track, is the mutual “trust” between minimal synth and cold wave – after having heard this song, one gets convinced that it conveys the general theme of the release – and that it is how cold wave should sound – because the combination of genres does so much more then he probably realizes.

Lie To Yourself” is a speedy, not that convincing, song that doesn’t really transcend into the same territory as the previous songs – whom are much greater in general atmosphere and theme. One must say that the melodies that come up in the chorus are what makes this song a bit better then it otherwise is. If only the synthesizer-melodies had been developed further, but a positive thing about it is that it serves as a reminder of the old Veil Of Light. The lyrical content in this song is, however, what makes it a bit better as well – and the energy of the vocals, you can feel it surge throughout the later parts of the song.

WhenThrowing Stones” comes blaring into the mix, it’s almost as if Veil Of Light has stared too long into the abyss and now it is staring back at him – the synthesizers utilized within this song greatly brings out an atmosphere so intense, so dark that one can almost not fathom how he manages to keep it so sullen, yet concise in structure and in upbeatness. It’s like a finger in the face at the same time as it keeps its distance, in the shade of light that somehow comes forth through the atmosphere, in the most abrasive way possible.

Now, “Awake” is a really bizarre concoction of different thematic influences. It feels like a carnival of despair, the melodies are quite unique when one thinks about it. Somehow it fits well into the soundscape even though it sounds out of place at the same time, but the drums make up for that in intensity. This song is one of the more creative ones in terms of instrumentation, because the instruments used are clashing against the general atmosphere and soundscape that Veil Of Light oftentime use. Clearly, this album is something out of the ordinary, as there’s a whole other, more picturesque version showcased – living out the most wild, imaginative way to create a song.

Wow, no words can really describe “Your Dagger“. A veritable industrialized zone from where the more classical themes of industrial is mixed with minimal synth, cold wave and post-punk. Not to mention how it almost transgresses into power electronics, with distorted vocals and a metaphysical dagger ready to stab at your heart with all its power. The drums can get a bit annoying after having listened to them only for more then a minute, but that’s about the only critique there is to give this song. It’s an otherwise, complete industrial setting – in terms of atmosphere and structure – with an unorthodox way of portraying it, musically.

Here’s where he should’ve left out a track, namely: “Alles“, which is one of the more boring tracks, up until two minutes into it where the melodies transgress the boring drumbeats and singing. It is an unbearable track which only picks up from its melancholic decay, into a maelstrom of more fitting melodies, later into the song itself.

Everything slows down, it becomes more downtempo, a more chilled out atmosphere – longer outdrawn synthesizers, melodies that quickly sweep by, leads that stay and affect the way you listen to the atmosphere as a whole. There’s always something happening, but it is more decorticated. The song is titled “Forever Unlit“, but in terms of the song itself it appears to be, very much, a fire burning and being lit – metaphorically speaking – as the song slowly transcends into total madness.

The beats in “Medusa” are grandiose to say the least. Brutal, uncompromising, and the rhythms are constructed – in the beginning at least – of those drumbeats. Rhythms are paused, the guitar riffs linger so long outside the general atmosphere that is then quickly filled out with synthesizer stabs, then suddenly – it shifts in terms of the riffs – into a completely different story. Everything is held to a high standard and one can simply not grasp how he’s gotten those drums banging – in such a savage manner. As the song fades into nothingness, one can say that this is one of the ultimate cold wave, industrial, post-punk songs of this year – easily.

It’s saddening to see how “With Healing Hands” is nothing in comparison to the other tracks. He falls out of motion here, there are less complex melodies, the rhythms are somewhat good and some of the melodies attune to the depths of one’s heart. Though one must say that this, as well as “Alles”, is one of those songs that should’ve been included somewhere else. Sadly enough.

Otherwise, aufnahme + wiedergabe continue with a solid discography, as this album is – overall – good, if not great in terms of how cold wave can be something greater, bigger, in terms of atmosphere and general theme.

Listen: Arsenic Of Jabir – 50Hz


When electronic music has that special touch, that splendour that hasn’t been overtly noticeable, when the beats come crashing through the wall – the composition is overwhelming – ambitiousness is not lacking at all – for Arsenic Of Jabir. His release, “50Hz“, is a staple of how you can create electronic music nowadays and how it should be created. Even though everything’s very retro, there are fantastic melodies and when you only need four songs to shoot through the maelstrom of music coming out, that’s a sign of that you’ve got talent.

My favorite song, “Heartcrash“, is a song as energetic as it is melodic. You’ve got your industrial beats coming crashing in, industrial rhythms with focus on the lyrical content and the composition at hand – a well-composed piece of music which upholds the release to the high standard which it left it in after the first song, “Isolator“. There’s a certain explosiveness about Arsenic Of Jabir’s music. Listen to it down below and hear it for yourself, you won’t be disappointed.