NO! Spotlight: Dry Socket / Ray Creature! [Part I]

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I found a rather anonymous label which is situated in Terre Haute, Indiana. The American label that I found is called NO! Record Label and is hosting itself on Tumblr, giving off a rather secluded interior for me to find mysterious. All the better, because it leaves much to my own imagination. This mysterious label have released two releases before those that I am going to cover in this spotlight. One of the releases are of Drekka and Assimilation – a kind of live re-work of each others live performances – but also a late introductory for me to Michael Andersons brainchild Drekka. This was actually the first release to be put out on this label. The second release was a compilation featuring the artists Drekka, NOON, John Flannelly, Canid, Assimilation and Agakus. Featured musicians working in the Bloomington, Indiana area, described by the label: “a collection of tracks that represents the loose circle of musicians that play weird electronic music together in basements, coffee houses, and bars“. But the two releases that I’m going to cover here are Dry Socket and in the second part; Ray Creature. The aforementioned a collaboration between Michael Anderson and Dylan Ettinger. I hope you’ll enjoy this write-up.

a0823392091_10Dry Socket. Having recorded a demo back in 2011 that never got released, this release titled “Violator EP” is a re-worked version of that recording. What strikes me at first is that it sounds like some kind of lounge version of industrial, together with the experimental tendencies that a mixture of their spaced out sound together with Michael Andersons vocals. The rhythm is slow-paced and steady, serving as a point of reference when listening, as the synthesizer sounds morph into differentiating sounds all over the place at the same time. When still being caught adrift by the first track, it feels like a combination of the expertise that Dylan Ettinger showed on his split-release with Goldendust on DKA Records and the gruesome experimentalism with his ambient touches. Even though a lot of the ambient heard in Drekka cannot be heard here, it feels like when they’ve joined forces, nothing is impossible. But I must say that when the song is about to end in the last three to four minutes, the windy atmosphere of what Michael Anderson can and have produced makes a turn back into ambient territory. Flaunting the beauty that can be heard through both synthesizers and other instrumentation. Next up is a sense of immediate urgency with the other track, with the outdrawn and melodramatic synthesizers that take each of their turn to whip you into the wonderful atmosphere of the track. Giving it even more of the old-school industrial sound together with screeching and violent vocals that make turbulence a must. The different passages in this song makes it even less vague than the first one, albeit the organic sounds and the synthesizers bounce on each other in a fist full of fury, it is easy to feel when it turns into something else – changing the pathway of the song. But just before the song is about to end, in the three to four minutes as usual, things get out of hand and a stormier landscape of sound can be heard before it dies out completely. The limited cassette of fifty copies can be bought from NO! Record Label. You’re also able to stream the release in full down below.

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Article: Imaginary trips into outer space with Adderall Canyonly – the Field Hymns years! [Part I]

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Introduction

Tumblr-esque aesthetics have never ever been so nauseating. We’ve seen it everywhere, and continue to see it here. But somehow Adderall Canyonly fed this appearance to the monster of the 1980’s, an American ghastly and gargantuan 1980’s beast, whose aesthetics are similar to Tumblr fast-food. One must admit that the aforementioned decade is more impressive when it comes to the aesthetics, then what Tumblr ever could deliver. It seems like this man is tired of putting out material for almost an eternity, well yeah – four years now – and not getting as much as a glance from the trendy music-press (both mainstream and the so-called ‘underground’). However, what makes the aesthetic nerve of his project even more interesting is the covers for his releases, which seem to be bright pastille-colors blended together with the adolescence of cartoons. Add that together with their rather psychedelic influences and you have a formula that they’ve settled for. If you’re not being fooled, Addreall Canyonly is the alter-ego of Wayne Longer, based out of somewhere-in-America. Probably a rather boring place, with regards to his musical fantasies. This is Part I.

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Review: Various Artists – A Tale Of Rotten Orange (2010) (Part I)

tale-of-roten-orange-LPA compilation with some undiscovered tracks and great punk acts from the US. First song is by the band Druglords of the Avenues, which is titled “This is a Pig“. Which feature some of the well-known punk-elements that deserve to be in the foreground, with rapid drums and an interesting anthemic touch to it. Reminding about the sorely missed days of the earlier punk eras of mainly the end of the 80’s and the beginning, but also middle of the 90’s. The drums are absolutely ravaging the sound-scape as it gives you an adrenaline injection in an instant. Some of it is nostalgic, but the singing blokes in this song heighten it and make it a great track for starters. Which makes the need for a continuing punk-overdose even more thought about. Next up is the band Disguster with the song “My Kick“, which doesn’t escalate in such frightful tempos as the first one. But it certainly doesn’t lack the original punk-sound of the beginning of the end for the 70’s, coming off with a more rock-oriented phase of the punk rock sound. The singer’s voice may not hold up such a sound-scape, but he at least has the ambition to drive it further and the sound-scape doesn’t lack anything that it should’ve needed. But sometimes you feel a need to wake the singer up a little bit more and tune him up a notch, but it is all fine in the end, because its a pretty good song overall.

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The top 5 interviews on Invisible Guy in 2012! (Part I)

I really suck at writing introductions and I hate to do them too. But I will do it for you, so you understand what this is all about. I created this blog in the end of 2011, but it didn’t really pick up steam until May this year. Since I’ve mainly been focusing on interviews on reviews on this blog, there’s a lot of those here. The interviews that I’ve done for this blog is now certainly above at least thirty. Some of them have been great and others have been an absolute disaster. I don’t even know if I’ve developed my interviewing skills throughout the years, but hopefully I have so it will be worthy a read. Therefore I’ve decided to rank the best interviews on this blog exclusively for the readers of this blog. Since there is a lot of content that isn’t displayed on here, you might see a lot of interviews that I’ve done earlier this year. Welcome to Part I!

5sm-press5. Interview with Sofy Major published 2012-07-27

This interview was actually supposed to be on another site, but since I hadn’t gotten it back for ages, I decided to publish it on my blog instead. It’s actually one of the interviews that I decided to conduct via mail and I also did it while I was sick. So I think it’s great to get this result, since I wasn’t in my best shape when coming up with the questions. Everything went better than expected and I got the questions back at a vital time for update on my blog. It might not be the best interview when it comes to the questions, but I think I got some relevant and long answers to my questions. This is what brightens you up when you’ve worked on these questions for some time, even though you’re not supposed to do it at that time, but had to do it because of a deadline. I would like to quote an interesting question and answer from this interview:

So you’ve started up your own label, could you tell me a little bit more about Solar Flare Records? What makes this label unique? Will future Sofy Major releases be featured on this label?

Mathieu:Well, this was pretty unexpected; at the beginning, when we first worked with Andrew Schneider, I know he and his band PIGS had a record to be released and I asked them if I could help putting something out. I didn’t realize the amount of time which was necessary to handle such a big release and didn’t have the opportunity to listen to the whole master, but the few songs available on Coextinction Rds (they self-released an EP through their own label) and the other ones on Slutspace were killer. So I just said “Ok, let’s see what I can do”, as I’ve already put some money in some other previous Sofy Major related records, I knew how boring and time-wasting it was to take care of the PR work.

Then I finally got the final master and artworks, and I thought this record was obviously going to be a real blast. This plus the fact that I was releasing something for cool guys who’ve always been working hard, that’s why I began Solar Flare Records and decided what artistic direction this label should follow: releasing vinyls and digital versions of records from awesome bands not having the opportunity or time to do a worldwide release. I’m also interested in re-releasing LP versions of albums which were only released on CDs, some albums are really worth having a second life, you know, those forgotten gems… The artistic direction is : “We cover a part of the Rock’n Roll field, surprise me, make your own stuff, sound original, be sincere and you’ll be welcome here”. Also for Sofy Major’s upcoming record, I don’t know if we’ll release it on Solar Flare at the moment, probably not or I’ll just give the album some additional PR support but we’re actually looking for some labels to release it.

225879_173275482726128_3201622_n4. Interview with Beyond Pink published 2012-07-11

I can’t really recall the premise of this interview, because I was up at my heels in stuff to do. So I conducted an interview with them which I got back in some months time, but what was interesting is that it turned out to be great. There are a lot of insightful things into the band Beyond Pink and their members. Also a lot of stuff that I decided to ask questions about were their earlier releases, labels and stuff that has anything to do with hardcore. Since we live in the same city, it’s also a blast to do an interview with such a great band that you also share the same city with. This interview was also re-published (in part) on the polish label Emancypunx Records, that released some of their latest albums. The interview also gives a pretty good background story all-in-all and you get to know them a little bit better and the thought behind their music. I would like to quote an interesting question and answer from that interview:

What is your opinion about the hardcore-scene in Sweden?

Clara:It’s interesting when you tour in Germany because then you realize what a huge scene they have, such good places for shows and a big audience, but – no bands! Here it’s the reversed: small scene, no places for shows and often very small audiences, but –  a lot of great bands! The Swedish audience is kind of snobby compared to the rest of Europe, it’s like “don’t DARE to move unless you know that this is a band that all of our friends think is really cool and has a lot of cred”, but still, there is a few ups on Swedish audience compared to rest of Europe: we have a sense of humor, we dress better and in many cases we smell better. But as a band of course we prefer to play in front of happy, dancing people than well-dressed ones.

Cajsa:Compared to Germany, it´s also a “no dogs on shows” kind of scene, which I prefer.

..to be continued in Part II! Otherwise, happy new year!

The best releases of the year 2012! (Part I)

It’s been a very interesting year when it comes to music. There have been a great amount of releases that have been up there with the greatest of yesteryear. Since everybody seems to be doing these lists, I will join in on the fun and recommend you the best releases of this year. Some of those releases might’ve been what I’ve reviewed on this blog and some others might be releases that I haven’t reviewed yet. I think it’s fun to do these lists nevertheless and hope that you will be with me next year too, as I will be continuing with my quest to shine a light on good and unintentionally obscure gems that seem to be passing by in the speed of light, only getting picked up by the smaller blogs like mine and other blogs. I will also be doing other lists that will be turning up in the days ahead of us and I might actually do something “big” for a change, just to celebrate this year’s passing. Welcome to Part I which in an unorthodox manner, displays the four best releases of this year.

dalet-cover4. Various Artists – A Somatic Response

A compilation from the wonderful label Beläten. It’s been with me since many months back and was probably the first compilation that I ever reviewed. There is something interesting in the way the artists were compiled on this compilation, it seems like it took a long time for Thomas to sort them out and place them in the right spot. Rightfully so, it also made it a whole lot better and it felt like it had been worked on for quite some time. Even though the music at times might not have been what I expected, I could hear that it reeked of quality. There was basically nothing wrong with it and it was a suitable piece of art which hopefully will get what it deserves in the future. I think its one of the greatest compilations of this year and therefore its included in the first batch of the best releases. If you haven’t already heard it, I suggest you do. I would also like to quote a little bit from the review I did on it:

With a synthesizer brain, you can’t go insane.

solblot-fc3b6r-mig-finns-ingen-vc3a4rld3. Solblot – För Mig Finns Ingen Väg Från Hemmets Dörr

An adaptation of the wonderful poems that Verner Von Heidenstam wrote in the end of the 19th century. If anything, this album should be and is a part of Swedish cultural heritage. It also broadens the horizon of neofolk, since they’ve managed to put their own approach to the music and the genre as a whole. They’ve outdone themselves when it boils down to it, since they made a lot of variation in between the different song and it is noticeable that they have what it takes to put Sweden on that scene. I don’t think any other band in that particular genre (at least from Sweden) have managed to stay that original and still make it. The album is a milestone of their discography but also as a whole, it really enlightens the aspects that might be forgotten nowadays and heighten them to the max. Hopefully they’ll move on to create yet another album that can withstand the toll of time, as I certainly hope that this album will, because its a positive outreach and insight into both cultural and musical aspects of Sweden. I would like to quote a bit from my review of their album (unfortunately only in Swedish):

Jag hoppas att de tänker ta någon av de andra klassiska svenska dikterna och göra något av det, själv tror jag i mitt stilla sinne att Heidenstam hade varit väldigt stolt över detta om han hade levt bland oss idag. Ett riktigt bra album och förmodligen något man kommer att se tillbaka på, när Solblot cementerat sig själva ytterligare, och kunna kalla den för “en klassiker“.

2721236100-12. TSTI – Evaluations

One of the most original albums to be released this year. The throwback to the wonderful 80’s music that I love so much have also made a mark on TSTI. His latest album evaluations is a good reminder of how much greater some of the synth-pop and darkwave could be. It took me a while to find it and I even conducted an interview with him about his music. I also reviewed his album, which was a listening experience that actually could describe this year very well in every sense. He managed to pinpoint the exact things about this year, musically, that made it suck so hard. But there was always some sense of relief, even though there wasn’t much of it to begin with. His music takes out the best in me and riddles in nostalgia, which helps me remind myself of how things were before. Surely a milestone album when it comes to that genre and a very interesting addition to a pretty suffering style of genres. The analog dimension of it makes it even more worthwhile to listen to and I sincerely recommend it. I should also quote something from my review of it:

I love how the synths start sounding like dolphins communicating below surface, even though its almost a few seconds. I believe that is the essence of S. Smith, he can both be very complex at hand but when you think about it – he’s also managed to keep a basic edge to what he’s doing.

PRO002811. The Deadfly Ensemble – An Instructional Guide For Aspiring Arsonists

It’s not hard to realize why I chose this album. Since I’ve listened through it, I picked it up once again and started listening. Every time I listen to it, it blows my mind and it’s probably one of the most original albums I’ve heard in a very long time. I must also say that it was hard to review such a masterpiece, because you didn’t know where you should go and you didn’t know what to say. But I must say that I completely loved the theme of the album and I tried my hardest to describe it in a way that would be suitable. Nothing can really touch this, not even the release that is on second place in this review. The amount of quirkiness, the sincerity and the sheer complexity of the music at hand left me indecisive about including it into the list, just because it blows every other record out of the water. I would even go so far as to include an excerpt from my review of their album, which leaves nothing else to be said:

They’ve managed to fit in so many emotions into this and they’ve managed to actually keep the music alive, the lyrical content excellent and everything else top notch. Everyone involved with this have outdone themselves and I’d like to say that his is one of the best albums I’ve heard this year. It absolutely smacks many other albums away from the first place and crowns itself.

Which, concludes this years (Part I) list of the best releases. I wish you a Merry Christmas!

Harvesting #13: Do I even feel anything? [Part I]

You know it! Since I’ve been on hiatus for a number of days, because I’m struggling with other things, like my studies – I’d like to continue with Harvesting. So this time around, we’re up a number and it’s time for the #13th edition of the loveable thing that is called Harvesting. Today, I don’t have much to say. It’s getting a little bit darker in Sweden and soon I get to sleep one hour more, since we’re setting back the clock one hour. Which could do wonders with my productivity these days and give you more material to enjoy. But I’ll get straight to the point! In this edition of Harvesting, you’ll get to know more about the following bands/artists/label(s): 阿飛西雅 APHASIA, Agent Side Grinder, Bombangrepp and AVANT! Records. I’ve asked Andrea from AVANT! Records a couple of questions and the rest are, as usual, reviews. Enjoy this time around too and I hope to see you on the carousel before its gotten to the end of the ride.

阿飛西雅 APHASIA – 提去買藥仔 Take it, You Need Medicine

Strong, emotional, vague – but beautiful at its essential roots. First song “樹林 The Woods” is a balancing act between the finer moments of post-rock glory and on the other hand; melodic alternative rock with some influences from shoegaze, with the outdrawn and dreamy riffs. It’s a complete trip from the start and it doesn’t give in to any of the lustful misdemeanors that can be found along the way. With excellent drumming and an exact change in structure, makes this uncut gem set itself ablaze with the wonderfully emotional sense of post-rock, which is how it should be done. The climax in the song introduces some of the elements used earlier in the song, with catchy drumming, different riffing and interestingly enough a truly provocative instrumental at heart. In the sense that it induces some of the most wonderful emotions from deep within, grasping them and making something out of it. Next song “秘密 A Secret“, continues in the wake, but is a more down-tempo song at the core. But there’s a sense of that something is going to happen, even though it pushes through, slowly paving the way. Like picking the most luscious berries for your homemade pie, eating it and getting an overload on the taste-buds. Even though they at times seem to be somewhat bland, there’s always something happening, a change in the drums or a change within the riffing. I also feel like there’s some kind of rock-oriented rhythm going on later in the song, which enhances the structure even more, amidst the wailing shoegaze-riffs that flow through the virtual earpiece that I imagine I’m listening through. There’s something high-tech about it, something futuristic and it touches you deep within your own mind and soul.

In one of the later songs, which in my mind sounded the best after the aforementioned, there’s something naive being thrown into the mix. I’m talking about “蚵仔寮 Kerzliao“, which really heads on its own way, instead of mimicking what has been going on before. A mellowed out and funny song, when I listen to it there’s something calming about it. It makes me giggle when I think about it, but that’s because everything is so relaxed and my brain is slowly shutting off the functions which are needed for enormous concentration. Not that it doesn’t take any concentration while listening to it and trying to analyze it, but it makes my work here even easier. Because there’s something special about the high-pitched riffs and the drums, but also the baseline, which pulsates in rhythm and touches everything else with the monotonous and repetitive style. Somehow, they manage to make this kind of style seem less boring than it would’ve if any other band tried the same formula. They have something unique, which is noticeable in the way they handle their instruments and how the structure in their song reveals itself. Surely, a must have if you like this kind of style and appreciate the general awesomeness of some great post-rock, but with some of the mellowed out rock-oriented parts, integrated with a sprinkle of shoegaze at times.

You can listen to their album over here, but you can buy it from White Rabbit Records.

Agent Side Grinder – Hardware

Minimalistic and retro-futuristic, if that made any sense at all. In the first song “Look Within“, it sounds like they’ve sharpened the funky undertones of Nitzer Ebb, tuned it down to fit the down-tempo outfit. With the mellowed out, but sincere and somewhat in-your-face vocals, this piece of electronics makes wonders when you listen to it. There’s always something going on, like the synths that activate themselves in the background and come out as a buzzing noise in your headphones. It might not be pure EBM, but it’s got some of the features that are used in those arrangements. I’m thinking about the repetitive and monotonous drums, accompanied by the funky main-synth and the amount of intrigue these few instruments and sounds can capture. There’s definitely some New Beat going on there also, when I think about it. I imagine myself standing in an abandoned industrial town, getting my own private show by Agent Side Grinder, while standing in a totally decayed environment. I hate to say it, but one of the more memorable songs on this album, “Rip Me“, really sounds like Depeche Mode-light. There’s also a pinch of Pankow on the edges, but only vaguely. Maybe less bombastic than them, but I definitely see some of it in the vocals at least. Feels like I’m on an endless trip on the train, to a destination which I know very little about. To say the least, if I were to make some modern analogy, I would also compare them to Metroland. Seems like they have about the same minimalistic synth-scape when it boils down to it, the kind of minimalism meets naive little synths and drum-machines.

Another track that gives me shivers down the spines, is the one featuring Henric De La Cour on vocals, titled “Wolf Hour“. He manages to fill up the emptiness between different parts of the song, connecting them with his own thing vocally, which really makes the song a lot better. His emotional singing fits the sound-scape perfectly and adds another touch of sincerity to the mix. With the more aggressive singing, in another kind of style, handing in a contradiction in the sound-scape itself. Which makes it even more enjoyable to listen to. As the instruments clash, between the layer of aggressiveness á la Brigade Werther (especially the song Killbeat), with Henric De La Cour as the master of the chanson, there’s an edge that plows straight through me with full force. The last song that I want to mention that gave me something I was searching for, was the song “Pyre” which is more ballad-oriented. A synthetic goo filled with both the mystery of coldwave and the loveable cheesiness of both future-pop and synth-pop. Slowly moving forward into the distance, catching on to the whole mood of the sound-scape, with a singer’s voice that’s as sweet as the most sugar-filled soda pop you’d ever find yourself drinking. I think they’ve got something going that is out of the ordinary, but I don’t really dig their sound overall. But they’ve surely grasped the craftsmanship behind this kind of music and made it their own deal, which is wonderful and respectable.

You can listen to one of the tracks from the album below and you can also buy it from here.

Bombangrepp – Skuggan Av Dödens Sändebud

There’s something edgy about this, differentiating from the general d-beat chaos. As can be heard within the first song “Livets Refräng“, the general mood of the song is total chaos and anarchy. But there’s something that makes this stand out from all the other bands that do the same thing, I don’t really know what, but some of the riffs are innovative and bring a great strength to the rest of the sound-scape. The singer is also hell-bent on this, which also makes it easy to understand how they’ve managed to make this song so great. He’s got somewhat different vocals and they’re bearable. At times, there’s the same kind of feeling to it, as it feels a little bit like everything else, but it continually fades out the more I listen to the song and understand the greatness of it. One of the other tracks on the album, namely the fourth one, titled as “Den Inre Striden” has some really cool riffs that make it much more enjoyable to listen to. The whole sound-scape as a whole is just making it even better, whereas the drums take a little bit more room in this song. At times it almost sounds like it’s knocking on the door of metal, but that’s just how the riffs sound in some parts of the song. There’s really a raw Mob 47 and Bizex-B feeling in it, if you blended those two together and kept the tempo of the aforementioned.

I feel like some other songs also need to be mentioned. The sixth song, which is also the title-track, namely: “Skuggan Av Dödens Sändebud“, delivers a fierce combination of the best in both punk and d-beat. It’s absolutely raw throughout, it’s almost as if they’re a bunch of skeletons performing, since the fury of the song have already gnawed down to the bone. That’s how it feels when listening to this song, there’s a total sense of apathy but at the same time the tempo just continually keeps punching me in my ears. One of the best songs on the album, hands down, is the eighth song “Inget Hopp – Ingen Framtid“, which is indescribably majestic in its musical appearance. So if this song haven’t made you loose all your hope and just say fuck it, you’re down in deep water. The riffs are excellent, the drumming is on point and the vocalist makes his best effort so far. Since this album was released in 2011, I was hesitant at first to do a review on it, but I thought it would be cool to put this one out too. You should get this album if you have the chance, definitely one of the better d-beat punishers out there.

Download their album for free over here, but I suggest that you give them some cash, because they’re worth it.

I asked some questions for the label-owner Andrea of AVANT! Records. Hope you like this one too.

So, where did your idea for AVANT! Records come from and what was your aim for the label when you started it and who are you?

– The label was born in 2007 to co-release the split 7-inch between my band His Electro Blue Voice and the French black metal punk band Nuit Noire. It started with the intent of doing something good and well done with kind(s) of music I dig the most and that’s the spirit I carry it on by.

In what way do you think your label has developed since the first couple of releases?

– I like to keep things simple, minimal, neat and effective, and that’s surely a constant. This said, every release is or can be a new spot explored. I would never have thought of doing any dark-folk record before Cult of Youth, just as I’d never have imagined of releasing pure electronic music before Scorpion Violente. So yeah every step can lead to new directs. Wait and listen to the debut album by How Much Wood Would A Woodchuck Chuck If A Woodchuck Could Chuck Wood? and you’ll see how another new shore has been touched.

How do you decide what you want to release and what you don’t want to release, what’s your criteria?

– Basically if I like it? And if it can fit in with the label, I mean a like a lot of different stuff but one label cannot just do everything y’know. You gotta have your own identity as a label.

Could you tell me anything about the releases you’ve done so far and how they became a finished product ready to be sold?

– Well, there’s an entire productive process behind every label which is exacly the label’s job. I don’t mean to bore you with details but that’s what a label does: contacting the band, offering one kind of deal, being in touch with vinyl pressing plant, with distributors, with zines, blogs and music journals… it’s our whole world.

Thank you for answering these questions! What’s happening for you in the near future?

– Out right now are HORROR VACUI – In Darkness You Will Feel Alright LP (over here) and NIGHT SINS – New Grave LP (the opening song here down below), while November the 26th will be available HOW MUCH WOOD WOULD A WOODCHUCK CHUCK IF A WOODCHUCK COULD CHUCK WOOD? s/t LP (Joy & Rebellion video)  and LUST FOR YOUTH – Saluting Rome EP.

Harvesting #4: Should darkness engulf us or nostilevo? [Part I]

Welcome back to another edition of Harvesting. Since I missed out on writing about it yesterday, I will be writing two parts about a detroit-label nostilevo. First I’m going to start off with a completely unrelated tune that you’ll find down below, and then I’ll venture into the world of nostilevo. So you’re reading Part I of the recommendation and review right now, which will mean that Part II is going to be featured on my blog within some hours. This time, you’re going to open your eyes and see with your third eye, because in this edition the following bands are featured: Mirror Talk and Dream Affair. Prepare yourself by lighting some candles and fetching some nice stuff to eat, because this is going to be a trip into the ultimate darkness. Therefore I’ll start it off with a little bit of light in the end of the tunnel, hope you enjoy it.

Mirror Talk – secret homes

Probably one of my favorite tracks as of now. Discovered it recently, a project called “Mirror Talk“, steered by Dominik Noé from Berlin. Since this is only a song, I will make this one short. Wonderful melodies, rhythms and sound-scape overall. Think of a blend with the best analog pop, synth-wave and cold wave. The song he’s got up that I’m going to recommend in this edition will be a song called: “secret homes“. Clear and fast-paced synths, combined with funky rhythms and a singer that knows what he’s doing. You should check out his other songs too, but I think you should buy this song for one dollar. It’s catchy and leaves a mark, it’s got a special touch and will make you dance until the break of dawn. There’s many adolescent feelings in this song too, and also feelings of nostalgia. With the best from the 00’s and the most influential 80’s, if you like that kind of crossover, make your way over to his bandcamp. I’ll be linking it in the end of this sentence.

Dream Affair – Aborted State

It’s been a long time ago since I heard some awesome goth rock. Good for me, since I don’t have to look any further. Dream Affair have taken care of me, ever since I found them. With their embrace of the first wave of goth, with a touch of the second wave. There’s been a lot of bad goth rock bands lately, so this one could serve as a breaking point in between them. I’ve focused a lot on their latest album Aborted State which is bound to be released on the 9th of October. With muddy textures and suggestive lyrics, the first song “Syndrome” really indulges itself with worship of sworn times. But there’s not only that, since they’ve developed their own version of this mighty genre. It’s not a copy of a copy, but rather something new and interesting. Even though they use about the same techniques as the bands did back then, they’ve maxed out and I’d put them somewhere in between Rozz Williams project Christian Death and one of the newer additions whom have also been interviewed on this blog, namely Psychic Teens.

Since the first track is pretty straight-forward and embody everything good about the genre, the second track “Outside” employ more of a darkwave approach to the goth rock sound. A rather weird sounding combination of both genres, but sometimes the enthralling vocalist and his back-up singer manages to pave the way and uphold the sound-scape. There’s something nocturnal within this song, something you’d want to fix your ears and eyes on. As if the aesthetic is repeating itself in the music. Even though some parts turn me off, they’ve managed to pull of a sincere and emotional song titled “The Porter“, which at times remind me of Nightmare Fortress in many ways. What I love about the song is the futuristic vocals and the endless piano-stick that moves through with the rest of the sound-scape. It’s filled with visions and it’s ready to take off, and I’ll take my hat of and nod in your direction, Dream Affair.

You can buy their 4-track album over at the nostilevo bandcamp. If you order the digital-only version of it, you’ll have to give them five dollars. However, if you want a limited edition cassette, you’ll have to put out eight dollars. But I assure you that it’s worth the money. Then you’ll get both the digital and the physical version of it, and since it’s limited to 100 copies, you’ll be one of the lucky ones that will have this great album in their hands.