Lyssna: Colouroid / Baula

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Det tjugonde släppet signerat FlexiWave är Colouroid. Snabb, rytmisk minimalistisk synth-pop som med hjälp av sin avskalade ljudbild levererar ett helt annat Colouroid än vad man är van vid. Melodierna är starka och får ett helt annat mervärde tillsammans med en rätt dyster sång. Märkligt nog är det mer märkbart på A-sidan av denna vinyl, med låten “HHH” som får äran att ge sinnebilden av något mörkare än vad det egentligen tillåts vara av melodierna som i vissa avseenden ger en mer harmonisk ljudbild. En dansant låt som är paradoxal i sitt utförande men helt klart ett välkommet tillägg i en annars mer experimentell diskografi. Förutom att bägge låtar visar Colouroid från sin bästa sida, så måste det sägas att “Shove” är den bästa låten på denna sjua.

Låten, som är B-Sidan av detta släpp, har en mörkare och mer rave-aktig karaktär. Den kontinuerliga och snabba rytm som i kombination med än mer avskalad sång – gör en smått nostalgisk och får en att blicka tillbaka till det, man från 90-talet, har lyssnat på i elektronisk musikväg – är precis det man förväntar sig från det som är legio av en B-sida. Samtidigt som de lägger in sina egna influenser i denna udda blandning, får det en att inse styrkorna med både det simpla och det mer komplexa i detta tvålåtarssläpp. Hur man lyckas att pricka av så mycket med bara två välkomponerade låtar är ett mysterium. Men det man får till sig av att lyssna på detta är ett litet äventyr i sig och de hänger samman, vilket gör att det finns en röd tråd genom allt ändå, trots allt. Lyssna till bägge låtar här nedanför.

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Halvt isländskt, halvt Göteborgskt eller kanske svenskt? Vem hade kunnat ana att denna kombination kunnat ge något så känslosamt. Med låten “Just Like Yesterday” bockar de av det mest estetiska med indie-rock och indie-pop i ett – det härliga med denna duo är att utrymmet för dåliga klichéer inte får plats någonstans – de eliminerar det totalt med en ständig virvel av olika rytmer, utdragna riff och sångerskans undersköna röst. Man ger ett enkelt budskap som lyssnaren tar till sig per automatik tack vare att de lyckats få in så mycket i en låt – även om lyriken till låten inte är det mest avancerade så levererar de ändå. Det är något med helheten i musiken som gör att man kan bli lite tårögd.

Äntligen kan man få någonting som drar inspiration överallt ifrån men som ändå har tagit in något eget. En monstruös ballad som skär djupare in i ens medvetande än vad man anar, man kan lyssna hur många gånger som helst och ändå bli hänförd. Tacksamheten har inga gränser när man får det här i sin mejlbox – eftersom att atmosfären i den låt man fått till sig, påminner en om så många händelser som måhända har varit åt helvete – men som man på något sätt släpper ifrån sig genom att lyssna till denna låt. Balsam för själen har inte kommit enklare för en själv. Det är något med melodierna som ständigt utvecklas och hur det känns rock’n’roll som in i självaste helvete – när till och med detta känns så surrealistiskt i-ditt-ansikte och provokativt på så sätt att det icke-slentrianmässigt vackra måste beundras.

Nej, jag vet inte riktigt hur jag ska formulera mig mer, men denna låt har påverkat mig på ett helt annat plan än vad merparten av den musik jag lyssnat igenom har gjort. Är inte särskilt engagerad när det kommer till dessa genrer, men det här har fått mig att engagera mig mer och lyssna till vilket budskap som levereras och hur det rent musikaliska får en att med sina fingertoppar skriva fortare än någonsin, enbart för att kunna dela med sig av detta underverk. Lyssna till låten här nedanför.

Exclusive Premiere: Fragrance. – Dust & Disorders EP

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There is something charming about Fragrance. – a new and emerging synth-pop artist from France – the solo-project of Matthieu Roche. Not only with the songs he’s produced that we’re exclusively premiering here via Repartiseraren, but also the beauty in the artwork itself for his debut-EP release “Dust & Disorders EP“. It is brave of him as a frenchman to make use of the english language as a vocalist. The result is an emotional trip which takes you from dreamy atmospheres, to bombastic synthesizers coupled with hard bass drums and an almost classical touch in between everything.

One could find some of his broken english to be something that would stop one from listening to the music, but frankly it doesn’t matter. There’s a certain beauty to all the instruments that are applied throughout the songs. No matter what you think about it, one can’t deny that the general theme and thought behind the tracks resonate within, as there’s an lure – it has a red line going throughout, the songs very much pick up where the other one left off.

This is far from ugliness, part of a french synth-pop tradition which is very likeable. The melodies are haunting, the choruses build up an expectation that is then fulfilled in the end. At times the songs get overwhelmingly emotional even for Repartiseraren. Here are five chansons which shouldn’t be left unlistened to. An exclusive premiere granted to us and we’re thankful to be premiering the EP in its entirety here on our independent and underground webzine. Enjoy the sounds that portray a picturesque and emotionally fulfilling trip from everyday life – yet taken from one’s everyday life.

When it comes to the audiovisual experience, we’re very fond of the song titled “Lust For Lights” – here made into a lyric-video. It’s a bit darker then the other songs, and it builds up to be a great song in general, with beautiful bridges and a constant tempo that has instruments added to it and a palette of space and strobelights are the main ingredients of the video itself. A simple but nicely made video.

The release was mastered by Hélène de Thoury at Synth Religion, the marvelous artwork and photography was created by Atelier Belle Lurette. The music itself was composed, written and mixed by Matthieu Roche. You can find him and his music over at FB, SC, YT and BC.

Review: Various Artists – Tag Und Nacht II

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Various Artists – Tag Und Nacht II – (Total Black 70)

Tag Und Nacht II is the second compilation that’s been released on and by the Berlinian label Total Black. Representing industrial culture from Berlin and what it has spawned, musically. It is a selection of some of the murkiest, darkest, experimental industrial music that we’ve heard in a while. Starting off with Stark Jorgensen’s (ASCETIC:) solo-project Halv Dröm and the track “Spirabilis VII“.

It’s like threading through a vast landscape, in the night, that’s been bombarded with snow overnight. Something’s lurking in the shadow of the trees right beside you, as the sounds intensify and the noise gets more high-pitched. There’s a constant atmosphere with this song that never really changes, it just pulsates on and on as if it were a part of you – your heart. Moving ever so fast through the snow and avoiding the parts of nature not yet trodden by humans. The more you get into it, the more the noise overshadows and the less picturesque of a landscape of sound there is. The song comes to a halt after five minutes of constant audiovisual terror, wearing off and going into the quiet abyss.

The rhythm goes berserk – “Human Diversity” by Edema Intravenosa is hauled at you, with in-your-face distorted vocals and continuous beat of the drum – this is about as noisy as techno can be. The atmosphere of the song is both claustrophobic and enigmatic, the bass drum is deformed and goes well with the snaredrum and other instruments used. For this song to really shine is when the chorus – or what can be seen as one – comes tumbling in with synthesizers that make the soundscape even sharper. It cuts like a knife to hear the screeching vocals coupled with something that could be reminiscent of electronic body music and electro, and it overlaps the monotonous rhythm, making it even more powerful then it was in the first place. The developing nature of the track is what makes it exciting, and frightening of course, to listen to.

I must admit that I haven’t listened much to Operant (Luna of Instruments Of Discipline, plus August from ASCETIC:), but their song “Mistaken For A Piece Of Thyroid” is as bold as it is noisy, and even though it is a bit slow at the start, it builds up to one of the most massive atmospheres I’ve ever heard in a techno song. Drawing from both the industrial side of it and the minimalistic techno, charging at you with noise at spearpoint. The more Luna’s distorted vocals are present, the more it changes and then ramps up to be a really aggressive and tumultous song. Half-way in you find yourself lost in the different moods it goes through, and every influence they’ve decided to put into it, pays off in the end. A very powerful and intimidating song, just as it should be when it comes to these genres, according to Repartiseraren.

Josef Gaard (Nathan Levenson) is next with his song “Compline” – a more cautious song – but with a strong atmosphere that is both in the foreground and background. When you think the bass drum is going to move into a steady, straight-forward techno-rhythm – it suddenly drifts away into a more unorthodox rhythm. There’s also a pinch of acid thrown into the mix, alongside a wandering industrialized soundscape. Even though there’s almost a constant rhythm, it suddenly goes heavy on the bass and floats out into a unwavering and bombastic atmosphere of sound – making the listening experience even more enjoyable. The way he crafts and pairs these noises, rhythms and constructs a whole world of his own is impressive. A really great track when it comes to everything – there’s really nothing that can strike this one down.

AVM (/ϟ/HUREN/ϟ/ + BLUSH_RESPONSE) also have a place on this, up until now, formidable compilation, with their track “Flesh Riot“. When paired together, the pounding bass drum and fierce rhythms are tweaked until they become the crazy abomination in sound one could expect from such a collaboration. It’s not really that interesting in general as I prefer them as their separate alter-egos, but it is interesting how they’ve managed to create such firm sounds and the only thing one wants is to get away from it. It is menacing to say the least and it gets even heavier and more intense the further in one gets. Sounds tweaked beyond the imaginable, noises to the left and right, forceful industrial techno with regards to nothing and no-one. A constant bombardment of the senses – a constant plague that could drive one insane.

Now here’s a rhythm to dig – Entertainment is the artist – “Club 2020” the song. The minimalism is superb and the thing which grabs a hold of one is the tempramental rhythm. It’s one of those songs that you wouldn’t expect to be where it is and end up somewhere totally different. The eccentric nature of the track is wondrous in its own right even though the samplings tell a different tale – a noisier and more mystical one. A good song on its own and where the compilation itself changes into something different.

MRTVI enter the picture, with the song “Anul Útlimum” – a really odd and experimental vaguely industrial one. There’s more of a classic techno vibe to it and the minimalism in its core slowly proceeds into a secretive atmosphere. As with “Club 2020“, a really short but comprehensive song. It’s a bit everywhere but at the same time caught in a maelstrom of consistent sounds. Creating a bit of a hazy and rhythmic venture which we feel obliged to follow. At the same time that it is unnerving, there’s also a bit of it that is oddly relaxing – as it moves in its own pace and never ceases to stray away  from that straight line – which is: going forward, steadily ahead.

Now here’s the final song on this release, by and of Commercial Tower, titled “Asphalt Animism“. A long-running and ambitious track which paints a really bleak picture. You could call it anti-picturesque, and as the name foretells – there’s an edge to it which can knock you out in seconds – after entering the latter parts of the song. The noises are out of control and smacks you in the head, one after one. Even though it is my least favorite of all the songs on this release, it the brutality one would expect from such a compilation as this one. It just feels like it goes on and on, treading into such monotony. Even after having listened to it a few times, I still can’t get into it. However, to conclude everything: “Tag Und Nacht II” is available cheaply digitally and is a good representation of Berlinian underground industrial, experimental, noise, and techno music. The release was mastered by Frederic Arbour at Cyclic Law. You can stream and buy it via Bandcamp, down below.

Review: Hanchi – The Fabulous Pain

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Thoughtful. It is not easy to describe, but each passage is haunting, looming experimental techno left to its own device – creating with “Scottish Fiancée” – a powerful and haunting experience. There is something intimate about it, but also something that rejects – in other words a paradoxical experience, to say the least. Venturing from the bleakest experiences imaginable in sound, to the more humble and concentrated atmospheres that can be heard throughout. As it slowly builds up and creates a rhythm, you’re invited into a determined soundscape that goes through the frost outside, inviting the cold into your living-space. There’s still, however, that distance between you and what you’re currently consuming, sound-wise. Nothing beats the steady rhythm and a time to dream up picturesque, yet horrific scenes in your own mind. It is a great, ever unfolding, mysterious track. 

Unicorn” is where it gets slightly more aggressive in terms of sound. It feels as if you’re locked away in a dungeon, left with little to no hope. Consumed by feelings of despair, chained and imprisoned. As the weather intensifies and the rain comes pouring down, I must say that Aubry Schaefer’s skills in sound development is becoming slightly more frightening by the minute, especially when listening to this song. It is nowhere near what you would imagine from the title of the song itself. Somewhere near the middle of the song it feels like hope can be found, there’s an escape from all this misery, hopefully it doesn’t end in tragedy – as the sounds intensify, with white noise coming closer and it slowly fading out as the atmosphere is flattened out.

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I don’t know what to make of the title “Christian Kaboom“, but it has a medieval style to it and a harsh electronic sound laid upon a steady rhythm. It is probably the most rhythmical song on this release and it takes oneself into a whole other place and time. The atmosphere keeps getting more and more intense – and I admire the sounds that are creatively strewn across the whole sound-scape. The rhythm itself creates a marching sound which is increasingly becoming louder and louder, more and more steadfast – until a horn sounds off and the atmosphere calmens, as if covered by sand or in deep snow. There are resounding pieces of instruments which makes it, for twenty to thirty seconds, into a serene melody. When it fades, the rhythm is bombastically recanted and heavily fortified with bassier sounds. Like the other tracks, it too fades out into nothingness, albeit it being as if it goes away in one or two seconds, faster.

Missing Black Seagull” is not that interesting of a track even though a lot of the atmosphere is shrouded in mysterious sounds, it doesn’t manage to have the same impact on oneself as the other ones had. This feels more like “more of the same“, unfortunately. Though it had some potential towards the end, it is uninspiring to say the least but it is fittingly the last song of this release so it doesn’t matter as much. All in all it’s a good release with interesting takes on techno. It feels different and Aubry Schaefer is great at modeling the different sounds one hears when listening through the release. The mastering is also on point, as it makes the different elements and sounds noticeable and part of the whole atmosphere.

It was mastered and cut to vinyl by Lewis Hopkins at Stardelta Mastering. The suggestive artwork was created by Marie De Cuir. You can stream the release in its entirety via Bandcamp and you can also buy the vinyl via the Algebra of Need bandcamp.

Exclusive Premiere: Soggy Creep -Shallow Drownings

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It’s unbelievable that it has already gone two years since covering their first EP, and now Soggy Creep have returned – just to leave us as quick as they showed up with new material – “Shallow Drownings” is their final release, featuring three years of written music, like a mini-cosmos of their own. Due to mental health issues the band have decided to call it quits, which is saddening to hear since their grungy and gloomy post-punk, punk carries the perfect melodic and lyrical content to give them that original edge.

But enough moping, let’s get to the music at hand. Their first song “Folie á deux” has a wonderful baseline that carries the vocalists voice perfectly, alongside a drummer who gives that extra rhythm – the hi-hat is insane at times and the lyrics are those of ultimate despair, I mean, one can barely get past: “when our lives are extinguished, we seek only silence” without it giving you the chills, down to the bone. The riffs from the guitar are heavy but simultaneously melodious and to sum it up – it is a perfect first song of a, right now at least, promising album.

Then comesForgotten Skin” and here is where it is extremely obvious how entagled with grunge they are. From there it only gets faster and faster, then guns blazing, the punkiness of Soggy Creep crawls out of the soundscape – just to be toned down at the end, slowly fading out into a screeching halt – as if someone abruptly stopped the machine from going any further. The song clocks in at two minutes and a half, but it feels like it goes on forever and ever, and there’s a real likeability about the blend of different genres.

shallow-drownings-backShallow Drownings“, here come the title-track, is more of a down-tempo almost a bit sludge rock-ish kind of song. A hangman’s ballad, tightening the noose just a little bit more before entering a world of despair. The drums are really what catches the ear, they are tireless when it comes to the groove – but the rest of the atmosphere isn’t really anything that gives. Surprisingly, the bass catches up by the end and delivers – totally on point and then after that, the transition to the other song goes smoothly.

Bang! Here comes the B-Side and it is one of my favorite songs, titled: “Eradicated Man“, it really gives that carelessness a face. This is an apocalyptic song through and through, carrying that rock’n’roll flame that quickly fade into grunge by the least wink – when the chorus hits like a clockwork – all parts perfectly assembled and the clock is ticking because time’s running out, it’s almost up. What’s great about the latter parts of this song is that the guitars make it, at least for a couple of ten to twenty seconds, into a dark punk song – it really almost sounds a bit gothic, but here’s where the ‘gloomy punk‘ must’ve been given a place, in this song at least.

Invite/Unfold/Exhaust” is gargantuan melodically. However, I feel like the vocalist is kind of out of place in many segments of the song, he only finds his right in the chorus where the melodies coincide into a wonderful mix of wickedness, and this passage is especially great, lyrically: “fear alone, could make the world turn round, nemesis knocking all the while“. The song becomes so damn hefty near the end of it, as the riffs become more ingenious and are perfectly coupled with one another to bring it to the final halt. Wow, a really, really great song which leaves nothing to the imagination, it is easy to follow through because of the general atmosphere of it, and how it is mesmerizing as hell.

The final song is really the darkest one when it comes to the lyrical content, as it goes: “there’s no rope here, for when the bottom gives away“. It really summarizes the whole meaning of “Shallow Drownings” – here’s where the sickness has spread through the whole mind and body. When it comes to the music, it is not as interesting as the previous songs on this release, but lyrically it serves its’ purpose as a final song. It is too bad that Soggy Creep have managed to put all this effort, throughout the years, into this album – just to quit – but at the same time it is the “perfect” goodbye, if one can even say it like that since the reasoning behind it is dismal, but they’ve outdone themselves and generally speaking – this is an album that Repartiseraren recommends. Stream it down below, exclusively.

The album was recorded on the 15th to 16th of August by Joey Seward at Left Field Recordings in Shelton, WA. Mastered by Carl Saff, photographies taken by David Hoekje (Spitting Image), layout by David Olgarsson (Hemgraven). Originally intended as a co-release (12¨/CS) by Soggy Creep and Conditions Records, now instead available via Repartiseraren for exclusive streaming.

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Listen: Michael Idehall – Solar Symmetries

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Noisetronica. The further in you come within the soundscape, the deeper the metaphysical cuts are – in “Language Of The Birds” (as remixed by Tanz Ohne Musik). There’s a minimalistic layer upon a grandiose structure in which the song slowly builds up from nothingness to something, it gradually becomes more skewed and wicked in tune, the further into the song one gets. The tribalistic elements lent by Tanz Ohne Musik make it a horrific experience in sound, a claustrophobic and inwardly looking track, gradually gnawing away on the little flesh remaining. A strong and subliminal start to his “Solar Symmetries” remix-album, as released on ant-zen now in December.

To be quickly shifted into the megalomaniac chantings of the “Omphalos.” remix courtesy of Grand Mal x. It is a more beat-oriented song which relies heavily on the way the beat swings into rhythm, to create a darkened atmosphere where nobody goes safe from the anger brewing down below, like a powder keg almost about to blow up – but the fuse is never properly lit and the agonizing soundscape just keeps on reaping havoc until there’s no more to be found. A monster of a remix even though it clocks in at just around three minutes. Giving it that original touch but keeping the intent the same.

Despite the name, “Feline.“, this hymnlike remix by Nordvargr makes the track all that more beastly – shrouded in mysterious vocals that add so much to the soundscape itself – it almost makes the whole song. The chanting together with the bubbly and enchanting atmosphere makes for a venture into the pitch black depths of the mind itself, it is a slow-moving, dark chanson that isn’t afraid to take out the lower frequencies and the more disturbed noises to make it a thoroughly menacingly experience throughout. Everything’s left to itself and this machine cannot be stopped by any human, it just keeps on churning and going forward with no intention of stopping.

Here come one of my favorite remixes, another one of “Language Of The Birds“, by Synapscape – which makes the electronic influences more prevalent. There’s a certain rhythmic feeling to the whole atmosphere which makes use of bass-sounds and the electronical chirping of birds, which slowly moves into a noisier more rambunctious and heavily beat-oriented maximal electronic sound. As opposed to minimal electronics, there’s nothing really minimalistic about this remix – it’s just a showstopper which makes the most out of what it generates – remix-wise. A really great remix.

As if anything stopped there, it just continues to move straight ahead, with noise in mind – as the “Horsemen.” remix by Tony Blomdahl – attacks from out of nowhere and pins you to the corner. This is the first harsh noise installment of the release itself and it shows how fury can control the whole atmosphere itself and make for a rather original touch which never ceases to be anything but full-blown harsh noise – in-your-face – kind of remix. Manipulated vocals, screeching and violently smashing noise-oriented atmospheres that clash and finally come to a halt – just like that.

Then, one of my favorite names – Hadewych – enter the album, with the sixth song being a remix of “Language Of The Birds.” once again, but in that original soft but dark Hadewych-oriented staple, vicious baselines that resound throughout and an atmosphere that relies much more on the general instrumentation then it does on the vocals themselves. They accompany each other well and the general development of the soundscape comes from the lyrical development itself, which then sees a general upswing into a psychedelic and twisted song after four minutes in. This remix is surely one of the better ones on this release as well, in terms of the ingeniousness of it.

Slow Spiral.” as remixed by Thoth Construct, is a more 4/4-oriented techno song that utilizes the original elements of the song to construct a more danceable version of this original track. What can be said about it? Not that creative, but in terms of the general rhythm, it becomes more and more hypnotizing the longer you listen to it. This is one of those monotonous tracks which, the longer you listen to them, develop into something far greater then what can be possibly heard after a few listens. There’s also that deep industrial tone to the whole song which makes it far more enjoyable then your regular techno. A banger after a few listens, rhythmically a great remix.

Now things get even crazier, with “Lucifer.” remixed by Disco Korrosiva, heavy noir beats and manipulations which make for a lunatic’s pathway into your own mind, together with the vocals. Your heart must skip a beat when listening to this song, because there’s something so insane about the composition of it – the remix helps to make it even more sinister and totally out of its own mind – or should we say: soundscape? Crushed vocals, dampened beats that get heavier and noisier the more you listen to it. Not to mention how it ends and lights the fire of another, heavy remix courtesy of Alvar.

Spiderwoman.” as remixed by Alvar – sees their heaviest work yet, even though it is just a remix. Especially when the snaredrum and the vocals go into a maelstrom of otherness, together with the kickdrum and the whole atmosphere. The vocals are as dark as they can possibly get and the beats, together with the rhythm and the electronic synthesizer that comes in from the sidelines, make for a greatness that you shouldn’t even see Alvar entering – but it only gets better, with piano-stabs and a swooping snaredrum that picks up on the rhythmic splendour that is their strongest card, with this remix. It’s a great one, probably one of the best remixes on this release.

Next remix, this time of “Lucifer.“, sees a more drum’n’bass-oriented remix by Voytek. It is like entering a psychedelic trip into tribalistic lands, there’s a certain tribal feeling to the undertones of the remix itself, whilst the overlay is shrouded in the bass-oriented depths of the original track itself. Relying much on the general atmosphere itself and the repetetiveness of it to drive the psychedelia as deep as possible, making it a rather monotonous experience on its own but it keeps on giving, instrumentation-wise and in the general composition of the track itself. It is a mind-bender for sure.

Feline.” once more, this time remixed by Nordwall. Here’s one of the most seancetronica true remixes on this release. Deep baselines that guide you throughout, with hypnotic swirls of sound that would make any sane man question himself. Not to mention how blackened everything gets when the vocals come in, perfectly fitted to the heavier and heavier baselines – layered upon one another, creating ripples upon the sea of sound on which they float. This is a deep remix, not for everyone, it gives off the illusion of being something more then it really is, or are we to imagine it to be less – just to be proven wrong by the creatively flowing, constantly moving, song and soundscape? I don’t know.

The catchiest one is saved for last, which is “Lucifer.” as remixed by Per Åhlund. There’s a certain vibe to his acidic interpretation of this song, almost sounding off like an alarm – just to have a rhythm given by the percussion itself – which makes it even more straight-forward of a song, which isn’t really what was expected. Then, suddenly, a synthesizer strikes out of nowhere and adds another notion to an already monstrously great remix. Damn, this remix-album is something else – and you can find a remix and interpretation that suits you and your mood. Get it via ant-zen, digitally. Listen to it down below in full.

Lyssna: Yabibo Hazurfa – Svärtans Hav (C30 Cassette)

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Det är fortfarande bara förhandslyssning som är tillgänglig, men “Svärtans Hav” är en djupdykning i en svartkonst som skulle kunna sägas vara en blandning av Michael Idehall och ALVAR – om man ska göra någon form av jämförelse. Utifrån förhandslyssningen så står det klart att den första låten: “Det Stora Alvaret” – är en hyllningslåt till ALVAR. Låten i sig är något mer atmosfärisk än vad som är brukligt när det kommer till den gruppen, men så är det också bara en hyllningslåt, men Yabibo Hazurfa gör det till något helt annorlunda men ändå så likt deras material.

Nästa låt är nästan en tripp in i en mer psykedelisk och mörk dubstep, av låtnamnet att döma “Svärtans Hav (Svart Version)” finns det fog till varför det just blivit de genrerna – mörkret svärmar runt kropp och knopp – ett veritabelt musikaliskt angrepp från de mest svartbeklädda delarna av vår fantasi. Där den låten dör ut så föds en ny, nämligen “Mörkrets Tron“, som låter emfasen vara på melodislingor som på något sätt ska framkalla det mest grymma inom oss – Jimmy Svensson är bra på att skapa atmosfäriska landskap, målade med en musikalisk pensel i breda drag.

Utöver det så bjuds det på andra låtar ur hans repertoar. Alla bär de på något eget men mycket är hämtat från andra håll. Men hans mästerfulla låtar tål tidens tand och även om de är nötta efter att man lyssnat ett par gånger, så håller de ändå – på sitt egna lilla vis. Han är verkligen duktig på att måla upp det mest dystra och gudsförgätna ljudlandskap man lyssnat på, på en lång tid. Det här är samtidigt som det är något gammalt och beprövat så är det något eget, måhända trots att inspiration hämtats från bland annat ALVAR och andra som håller sig inom liknande, eller samma, genrer. Men trots allt någonting som är värt att lyssna på, om och om igen, flera gånger.

Lyssna till hela släppet, men tyvärr kan ni inte köpa någon kassett då de sedan ett tag tillbaka redan är slutsålda. Så ni får hålla tillgodo med det digitala släppet tillsvidare.