[14th|15th] December: STURQEN & Zex Model!

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raiaFrom the beginning there was “Raia” – third album STURQEN ever put out, self-released and all. A calmer more abstract release as opposed to “Peste” and “Colera“—two digital Eps discharged into oblivion, a Yin & Yang of total resignation. Also featured as physical editions in Cdr. With their third album they formed a pattern of recognition. They seemed to have wanted to step into paradise for one last time, before heading back from a retro-perspective “Praga” and “Pirahna“—their first and second album. The meaning of “Raia” is ‘Batoidea’ – which is the taxonomical (biological) super-order of rays, more specifically a cartilaginous marine fish which means that they, like sharks, have no bones in their body. These mammals are not the kings of the sea but they’re close to being. We think of manta rays – these huge rays that carelessly patrol the depths of open seas.

When you read the titles, they’re inspired by everything from the native ecosystem of Portugal – to Johannes Kepler, candelabras, mountains, CD’s, and Canary birds – a reference to Canary Islands? Also might be because “Canário sound like a chirping bird. Every song on the album seem to be an interpretation musically, also of linguistical importance title-wise – through genres STURQEN like to be associated with—or by accident. They break from this gateway completely with “NEOPHOBIA“, as they seal their original intentions in a box not to be opened again until it’s time.

neophobiaNeophobia seems to be a complete anti-thesis, full-on rhythmic noise techno experience, higher frequencies and a dystopic vision of the future for Mother Earth. The term ‘neophobia‘ can be summarized as: “a phobia for anything new“, in this case a disintegration musically – disseminating the “post-industrial“—specifically a technologically maddening, freakishly abundant, information society in which nothing has any meaning no more.

The world is entering a state of emergency, alarms sound nearby and everything is organized for resistance. Or might it be Earth rejecting its own organic structure? We hear a militarized sound, a call to war, in “Justo“, a machinated process rebooting and aircrafts lifting in “Ateus” – consisting of minimal analog instrumentation; distorted rhythmic sounds and a harsh beat. Just to mention two contrasting examples from NEOPHOBIA. Same theme – different characteristics and takes on a subject we yet have to uncover—perfect time for a thorough investigation.

What resonated with me the most visually was the edgy and spot on music-video for “Toxinas” – a song clenched from their third album “NEOPHOBIA“, released on the Ukrainian label Kvitnu, in 2013. The sport of fencing was suited perfectly with the experimental rhythmic noise David Arantes and César Rodrigues of STURQEN produce. Though we’re not impressed by how the elegant sport of fencing is portrayed as if it were post-mortem. Though it can be interpreted in different ways as was our first understanding of the music-video accompanying the song as some kind of tribute, but the more we think about it – the less plausible that theory becomes.

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Now when they’ve been accustomed—to such a wide degree of change, they settle in with an unreleased track for Repartiseraren own non-commercial collection Ljudkalendern. It’s titled “Pidde” and will remind you more about their debut-album “Piranha” than anything else. At least that’s how we hear it when listening to the song. A diffuse, experimental noise atmosphere that quickly fades in with a thrusting buzz, but stinging poisonous touch which decays – as the machine wheezes out its last steam, the same day the industrial workplace is shut down to pleasure the coming post-industrialists. Listen to the 14th December exclusive premiere of the earlier unreleased song “Pidde“.

 

dark-myth-ankoku-shinwa-takeshi-servant-of-brahman-and-god-of-darkness-susanoah-oh-eight-armed-horse-lotusZex Model is back once again, with a new track for Ljudkalendern. It’s titled “Ankoku Shinwa” and is influenced by the Anime-serie with the same name – which is synonymous to: “The Dark Myth,” original title in Japanese: 暗黒神話. In short the series revolve around prehistoric Gods from Japanese mythology, whose presence in the early days of Japan had a task to protect their sworn secrets—hidden in modern society. Since darkness is beckoning, the Kikuchi Clan have seen the warning and are ready to fight the spirits of the mythological creatures. The main character—a boy who tames the powers of the gods, could be the embodiment of the boys’ spirit in this song. A protagonist who does his utmost to defeat those who wish to do harm.

The religious Croatian christian orthodox chanting, might be a direct translation of the Kikuchi Clan warning about impending darkness—as his own voice, heavily distorted, out of the blue descends; to affright the listener. You hear a better, more improved version of the Zex (Model), as he rips up a wind of nostalgia, reminding us about some kind of crossover between Brigade Werther and other such experimental, borderline electronic body music, industrial acts. His inspiration from Anime is not to be taken lightly, as it gives a depth to the influence of this particular track. Not to mention his other discography. It feels like he’s found his spot and continually develop, so it can hopefully bloom out and become something unique.

He delivered a newly produced and unreleased track which everyone should listen to. It’s a step away from his electronic body music with a multitude of samples, focusing on fewer samples and entrenching his own distorted vocals. His contribution to Ljudkalendern may have more inspiration from elsewhere, but it mainly comes from that Japanese anime-serie. For the 15th December you can enjoy everything about a new model, not by any means finished, but a prototype.

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[2nd] December: TSTI – This Way (Inst. Version)

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To be honest I haven’t been monitoring the rapid success of TSTI for a while. I remember when he was in the process of releasing his debut-album, but after that he’s also released a follow-up and there’s more yet to come. Sometimes you just loose track of everything when you’re knee-deep into everything. There’s so much to keep your own eyes and ears open to and there’s so much really untalented junk which floats around on the internet—some of it which is received through e-mail that you don’t even open and send to the trash-bin right away—that you get lost, for real. Even though I know that many things are left unexplored, it’s hard to keep it close and actually have the time to listen through it. I’m hoping that my article will do justice to what I’m going to present to you in the end of it. Before that I need to go through what is unique with TSTI and why he’s featured in Ljudkalendern — the unnamed project which got a name, when the final artwork had been received. It’s really simple and is kind of catchy in Swedish but not in English, as it translates to: “Sound-calendar“. Therefore I’ve decided to keep the Swedish name.

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We’re already in December and time flies by like it didn’t even care for us puny humans. Not that it ever does, because it’s not reversible, but sometimes you wish time would have mercy and be slow for once—not only when you’re doing something really dull. It has more to do with our perception than it has to do with time itself, I can understand and cope with that, but I wish I could just stop and reflect for a moment—which rarely, if ever, happens. TSTI have been releasing so many great tracks since the first release for this solo-project of his, originally intended to be a bedroom synthpop project, turned into a minor mammoth that just seems to go on and on… and on. I don’t really know if he stays true to what he once wanted for it, but that doesn’t make a difference for me anyway, the only difference that have been made is that he’s evolved really much. From a rather neatly placed synth-pop package with huge ambitions—turned upside down, making it an ambitious project extremely nicely packaged both in sound and aesthetics. His artwork follows a linear curve and the only thing different is the main focus point, which feature an industrial compound (Evaluated), as opposed to the Victorian setting on his debut-album (Evaluations). It will be exciting to see what’s going to happen in 2015 and if the aesthetics will follow the red line, or go past, above, away or beyond it. Because he’s releasing something new in the beginning of next year on Desire — and I’m thrilled about it.

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So when I asked him if he would be interested in participating in a non-commercial collection that I was making, he surely was and gave away an instrumental version of a track featured on his forthcoming release. It never got onto the official release itself, so I thought—why not place it on Ljudkalendern? Said and done — now we had an agreement. It is my pleasure to introduce to you an instrumental version of the track “This Way“, taken from his coming album that will be out next year—2015. It’s a step away from what I was used to hearing on his debut-album, definitely with obvious leanings to electronic body music and industrial music, but also with contrasts like including a panpipe in an industrialized setting. Harsh beats, complex rhythms and a nicely woven melody which is supported by this bizarre instrument. A thoughtful song which doesn’t become less interesting than the fully vocalized original track. Before you go and listen to it, read my poem about it. Otherwise, if you’re not into poetry — here’s for December the 2nd and a brand new premiere on Ljudkalendern!

Metal pipes and ringing sounds,
working hard in our compounds
Hammer to metal, machines for humans,
benefited for all means

This is 2nd of December and for now the story is moving straight ahead, but we’re long from close to our final destination. Tomorrow a new song will be released and the story is to be built upon and continued. Until then, enjoy another exclusive song; “This Way” (Inst. Version), on Repartiseraren.

[1st] December: Xiu – Law Of Light

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Winding down, coming home and changing around to accommodate ourselves to the reality we left for another — is not an easy task. We’ve just headed for a vacation and here we are, strong-armed by the world we left a couple of days ago. Time flies by so quickly, so we’ve just calmed down before there was a storm heading for us — a metaphorical one. Now when everything is moving back to what it was before we left it, we have something exciting to announce for everyone reading this blog-zine. You will not believe your eyes, nor’ your ears.

We’ve been working on a project in secrecy. Today is the day when we reveal what’s to come and what you’ll never want to hear, anyway. This project started some months ago and they were only going baby-steps, if anywhere, forward. It all began when I asked Xiu if she wanted to participate and lend an exclusive track for this purpose. She did so and asked if we could not include more people who would be featured in the project to come – so we said: “sure, why not?“. This resulted in the project being even larger then we could have ever anticipated. It grew from one to a number I won’t reveal right now, that will be revealed once the project is over. One of the corner-stones is that it is a non-commercial collection – not really a compilation to be released — but rather a “project” collecting fragments of what Repartiseraren is, and what is preferred around here. I put an emphasis on “non-commercial” and “collection“, just so there will not be any confusion with what it really is and what it is meant to represent.

It was really easy for the artists and groups that are featured on this non-commercial collection — to realize what they should and should not contribute with. Either an exclusive unreleased and newly composed song — or an already composed (but unreleased) track — for the sole purpose of being collected. What can be said, other then “we’re really overwhelmed by the response“? Nothing other than that. We would like to thank everyone that were and still is involved, because without you — this would not even have been possible to begin with. You’ve put your sweat and craftsmanship into it and you can tell by the way it sounds, no matter what genre you’ve set yourself up for.

So let’s get to the point. Since Oksana Rodinova (Xiu) was kind enough to give us ideas which helped the project further, she’s the one who starts this project off with a bang. We’ve gotten our hands on the track “Law Of Light” which is exclusive for this project. We think it displays how she’s evolved and how she can stop in evolution just to give another side of what Xiu is about, another insight — if you will. A suggestive and dark, but transparent song which deals with a certain topic in so many ways possible, within the realms of minimal synth and cold-wave — combined. Before you go ahead and listen to it, we’re also able to present a music-video for your viewing and listening pleasure. You can watch it above. So do that first and then read the first poem when you’ve opened the first window in this calendar:

Take me into the light,
let me be your plight
Lead me to your law,
so that I can withdraw

This is 1st of December and now the story begins. Tomorrow a new track will be released and the story will be continued. But until then, enjoy the exclusive song “Law Of Light” and the music-video for it, on Repartiseraren.

Review: Destruction Unit – Sandy Sessions

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Ascetic House have been busy pushing out their January program, in full. So while you slept on it, Invisible Guy kept counting. According to the newsletter, they have a rather unique approach when putting out their releases. They planned 31 cassettes for their program, but each individual release was and is only available on the day that it is released. A new release appeared the next day, but since it’s already the 31st, it’s kind of late to write about their program. The releases were not announced in advance, so it was randomized. For those that follow the Asceticism of Ascetic House, these releases will ship out in the end of the month, which would be today.

Some of these releases may also end up in distribution, at selected record stores and distros. Lucky for you, each one of the out-of-print releases (meaning every release), have been put up as a free download. Unfortunately, that means that you’re turning up rather late for the physical edition. Me too. These releases remain up on their website for download until this evening, when I’m writing this, and tomorrow they’ll be gone. For me, it’s not the point to give you anything more then a taste from Ascetic Korp (Soundcloud), and write-ups of these different releases.

Since they made a concept of their own, Invisible Guy will blindly follow their concept, but he will move astray from the set dates. Because he’s out of luck this time. Each day, he will bring you a review and let you listen to a piece of a track from the release which he is reviewing.

First up is Destruction Unit and their recently released (in the January program) session “Sandy Sessions“.

1st of January!

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Destruction Unit have been around since 2004, and probably before that, even. They’ve released albums, singles and E.P.s on labels such as Empty Records, FDH Records, Volar Records, Sacred Bones Records, Jolly Dream Records, Discos Cagados, Disordered Records, Lo-Fi Records, Suicide Squeeze and BIG LOVE Records. One live-record and a session have been reserved for release on Ascetic House. The band consists, and have consisted of Ryan Rousseau, Rusty Rousseau, Nick Nappa, JS Aurelius, Andrew Flores, Justin Keefer – some of whom are a part of Ascetic House. They play a combination of psychedelic garage and noise rock. We’re going to get into their latest release, the session-release “Sandy Sessions“. Four tracks, namely “Time Traveler“, “Desert Snow“, “Poison Breath” and “Do Drugs (Nihilism)” were recorded in Brooklyn, New York at Heaven Street studio by Kyle Keays – a day before the 29th of October, when the Hurricane Sandy reached its epitome. This was when it hit New York and New Jersey, where the severest damage was done. Therefore: “Sandy Sessions“.

The first song “Time Traveler” is a catchy piece of music, which derives the most out of the psychedelia, which just sits there and looms at the beginning – whilst they rev up the noise rock, keeping a steady tempo – just so I can nod to the track and go with the rhythm. It’s constant. When it’s been going for roughly two minutes, the singer’s canned voice is picked up and as he reaches his epitome, all hell breaks loose and the psychedelia sips in like it came from a breach in the hull. The guitars are absolutely wild, gracing you with the reverberant that acts as distortion, clashing with the wildly played drums. Suddenly, it speeds up and reaches into a whirlwind of screeching guitars, gradually speeding it to its utmost limit when everything comes together once again – just to fade out into the blue. It feels like you’re caught with the wind, it feels like you’re experience what had been hitting and should just hit – New York City (amongst other cities). So the name itself is prophetic, as you’re caught in the maelstrom of guitars, drums, vocals and bass – which winds you up until you loose yourself to it. You have a clear sense of where it’s heading in the beginning, but then it picks off from there and leaves you totally clueless. You never know what hit you, until you realize it afterwards. It’s simply stunning, in the literal sense of the word.

Now, “Desert Snow“, the second track – starts off more like a rehearsal. Featuring slowly-paced psychedelic delight, entwined with the ramblings of the vocalist – rather than the up-tempo garage schtick. It’s like a lullaby, if you’d force it into a concoction of noisy rock melodrama. When you’re about to be included into their lullabies, it instead whirls into a mesmerizing feverish dream. There’s even more psychedelia included here, as if you’d be out on a whim and into wonderland. A seemingly nauseating experience when it has drawn you in for a constant rhythmic swaying, sincerely for you by the guitars and the continuous tempo by the drums. We’re at the crescendo, but we can’t get away from there. It’s like you’re dragged into the quicksand, quickly forming around you, as the snow pours down. Therefore; “Desert Snow“. A brutally chilling experience, traveling through time and space with the psychedelic vibes you’d only get from such a setting. Most of it’s predictable, but when they hypnotize you with such a fantastic performance, even though it’s just a session – you’re flabbergasted. There’s certainly no lack of energy, as they pounce away and fade into obscurity, leaving only a deserted mind. Emptied of all significance, fading into the quick-sand – never to be seen again. It’s a once-in-a-lifetime experience, I reckon. Effin’ good one at that, but like some other tracks, it’s simply meant to be heard only once. You might disagree, but it is memorable, but I don’t want to ruin it.

Charging at you in a slow-paced motion, moving forwards – is the track “Poison Breath“. Yes, it breathes down your neck. Feels like you’re a part of the chase, but you’re chased, therefore you’re not only the one going to be feasted upon – you’re actually not the predator. When listening to this, I feel active and not passive. I’m slowly starting to think that they’re tricking me into this story of theirs, which has been built up since the last two tracks, only to get more obvious in this one. I don’t give much for the sound, because it feels quite repetitive. But that is probably the point, just to slowly mold into where the vocals come in – as they play their part. Locked into a closet, dampened and psychotic – far away. It’s jam-packed with the most robust, but noisy rock you’ll ever hear. Feeding into the enormous distortion generated by their general atmosphere, but also generated by their manipulation of their instruments – in regards to their setting. Chugging riffs, outdrawn riffs, crazily psychedelic guitars and an abundance of feedback feed into the most psychedelic garage rock. This crossover can be considered to be a success, if you’d ever find it below all the grimy and muddy dung that is shot your way. This track is probably the most flipped out yet, but I’m not hoping for much either. Regarding the track that comes after this, the name of that track spells even more disaster. Disaster in a totally maddening, but positive way – if that even makes sense.

The name of this track is “Do Drugs“, and is credited as “Do Drugs (Nihilism)” when reading Discogs. Well, if I’d ever get surprised by anything so far, it would be the classic rock vibe that it delivers in the beginning. A solo-driven guitar with a gurgling vocalist that spews out his toothpaste with water. In regards to the name of the track, and the music at hand, this is probably how you’d feel if a hurricane had hit you the day after – and you saw it in some kind of psychotic vision. Or maybe it’s simply a call for total decadence, who knows. “A-aa-aa-aahh“, is all I hear, as the vocalists words (that I can decipher) echo round and round, in my brain. Let’s hope they never start a dentistry, because they’d pull out your teeth without any mercy. With nippers. It’s by this time that I frankly get annoyed by listening to this release, but it’s actually the final track, so I sit down and try to endure the enormously boring tempo that has stirred up the total carnage that is in my headphones. By then, the song has already ended in an outdrawn sigh and a bang. But it fades out quietly, into a silent snip that cuts it off. Yes, this release is so sickening and dirty that you’ll have to use something else to clean your ears out. Even though it’s the shortest song on the release, it feels like hours just went by, as if the heat-wave just hit me. I feel totally deserted.

Listen to a track from a release by them of the Ascetic House program, the January program of course. It’s not a track from this release, unfortunately, but it’s from another. So get on with it.

Featured Premieres: Illuminoscillate / Abre Ojos!

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Secrets Of Giza is an independent label based out of Santa Barbara, California. They have a small roster, but seem to be very dedicated to what they see as their mission; which is to help the artist be an artist, without the administrative “bullshit” that comes with it. Which helps the artists do what they do best, which is to create music and slowly develop it into what can be called art. Anyway, I was in touch with one of the label-heads of this particular label and we decided that we’d be better off with a double-premiere. Two artists from his roster, namely Illuminoscillate and Abre Ojos, have released their albums not too long ago on Secrets Of Giza. Mind you, you’re in for a treat when it comes to this, if you’re interested in dark ambient, drone, industrial – or anything that could even remotely be considered to be dark. Both artists have a history of releasing albums, so they’ve settled down into what could be their niche. Or have they? Anyway, Illuminoscillate has released “Uniform Wall“, which is the second newest addition to the label. Abre Ojos is the newest addition, an album which have been titled  as “Gates“. As I say new, I’m speaking of those two albums in relation to each other. When it comes to these particular songs, which I’m going to premiere here on this blog-zine, they’re eerie but different. The first premiere which I am going to share with you is from Illuminoscillate, as he delves deeper into the brain-thrusting motions that deliver buzzing saws that will crack your skulls open. It will bleed you out, sonically.

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The trackLate November” is all about the icy and dampened coldness that can be called harsh noise, mixed with dark ambient. A colossus doesn’t fall far from the earth as such, when the deliverance is stomping upon your civilization with all its glorious weight. Every bit of this track is about as torturous as its beginning, which is a numbing experience – from the core of the characteristics that Illuminoscillate already patented, but within the realms of dark ambient. It will be to your big dismay as your eardrums are being drilled into with such mercilessness, that you may well not endure it. Really, really harsh jolts of checkered beats, industrial rhythmic and general arrhythmic noisiness, will destroy you. Abre Ojos, on the other hand, enters with his track “Light On Our Foreheads“. There are such contrasts between these two tracks, as he introduces us to a more eerie and illusive musical landscape. We really needed to get away from the harshness for a bit, which is why these two tracks might’ve been handed over. Hear the monumental sighs of the titans that dwell below us. Fear not, because their rage is instilled and they’re our captives. But for how long? Abre Ojos really deliver the needle in a haystack when it comes to precision. It would feel impossible, it might well be impossible – but when he takes over, there are many barriers he’s crossing at the same time. Hear these pounding drums as they sound closer, as they move closer. You should fear, because it’s an impending doom. Better hide yourself, because they’re coming to take over once again. Moving from claustrophobic to a marvelous open landscape of fruitfulness. It might become a little bit stingy, but is in no way as harsh as the track before it. Listen to it with joyous feelings, stream it as you like, because these are the mastered versions directly from the CD’s. “Uniform Wall” came out on the 6th of August and “Gates” was released on the 20th of August. Support the label Secrets Of Giza, buy both these (or one) physical album in the store. Where you can also buy it digitally, if you want.

| www.secretsofgiza.com | secretsofgiza.bandcamp.com |

Interview with Női Kabát!

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Photograph by: Cserkúti György

Női Kabát is one of the most interesting acts coming out of Europe in these times. It consists of three people, namely Dee Rüsche (Lungs / Metal), Owen Pratt (Synthesis / Noise) and Jonas Ranssøn (Simmons / Live Drums). One of the unique things that have shaped them is the fact that they’re situated in different cities. Considering the fact of how hard it is to keep something going, when you live so far away from each other. Yet, they’ve managed to strike the public with their immerse first release “Make Room! Make Room 7¨“, which was released by aufnahme + wiedergabe. It sold out very quickly. The music itself is bordering on synth-pop, new beat and cold wave – to name a few genres which have set root with them. Since people began to talk about them, revere them with kind words, they set out upon a Summer-tour in Europe. It’s when I came in to the picture. After reading a few interviews that had been conducted with them, learning a bit more about them, it felt like I missed something. Therefore, I decided to get in touch with them and do an interview with them. This is probably one of the more in-depth interviews out there, so I hope you learn something new and like what you’re reading. Or you might hate it, for all I know. But I did my best. In this interview, we get to know more about them personally, their influences, the origins of “Make Room! Make Room!” and much more. Get in line, read it up.

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Beläten and Invisible Guy presents: Shadow Rite – A Beläten Mixtape!

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Beläten have long been a proponent of Invisible Guy, or at least as long as we’ve been collaborating with each other. Thomas Ekelund is the head of this gargantuan Swedish label. It seems larger then it is, but it actually is what it seems. Invisible Guy have been a proponent of Beläten, since it’s one of the best and most exquisite labels today. It also makes me proud that it comes out of Sweden, my homestead. Earlier, he’s mixed the mixtape “Visions and Light“. This mixtape is the second one in these unofficial “series“. With 50% forthcoming material that’s going out on Beläten later this year, mixed with the majestic wonders of aufnahme + wiedergabe, La Forme Lente, Malignant Records and Avant!. With a great feature, which you’ll enjoy – a world premiere for a Trepaneringsritualen track, which will be out on Malignant Records later this year. Dance in the flaming pyre, embrace the rites of power, thrown into barren landscapes – is your ego being annihilated, in the Shadow Rite.

Invisible Guy and Beläten constitute some of the most powerful forces coming out of Sweden as we speak. Which brings me to introduce this collaboration with Beläten to you people, so that you can enjoy some exclusive songs from forthcoming releases. But do also enjoy those other songs that have been carefully selected to be featured in this mixtape. His legacy returns to my sphere once again, as his selection empowers the slumbering soul of the awaited Autumn. You will find the tracklist down below, links to Beläten and what ever you can and will find.

Shadow Rite – A Beläten Mixtape

01. Blitzkrieg Baby — Half Pig Half Man (Beläten, Forthcoming)
02. Feuerbahn — Triumphwagen (Aufnahme+Wiedergabe)
03. Dmitry Distant — System Control (Beläten, Forthcoming)
04. Michael Idehall — Snake Messiah [Distel Remix] (Beläten, Forthcoming)
05. L’Avenir — Falling Like The Snow II (Beläten, Forthcoming)
06. Makina GirGir — Oedipus Fin (La Forme Lente)
07. Női Kabát — Make Room! Make Room! (Aufnahme+Wiedergabe)
08. Grand Mal x — Tricks Of A Trade (Beläten, Forthcoming)
09. Sebastian Melmoth — Skurwysyn (Self-released, Beläten cassette forthcoming)
10. Distel — White Soldier (Beläten, Forthcoming)
11. Veil Of Light — Light (Beläten)
12. Lebabon Hanover — Gallowdance (Aufnahme+Wiedergabe)
13. Lakes — The Oldest Place (Avant!)
14. Trepaneringsritualen — Åkallan: Mímir (Excerpt) (Malignant, Forthcoming)
15. Carrion Sunflower — Wish For Death (Beläten, Forthcoming)

Beläten is looking forward to a hectic fall with great releases from Sutekh Hexen, Nordvall/Vainio, Grand Mal x, Dmitry Distant, Blitzkrieg Baby, Johan G. Winther, Distel, L’Avenir and Sebastian Melmoth, with even more epic plans for the year of 2014 e.v.

www.belaten.se | belaten.bigcartel.sewww.facebook.com/Belaten