Showcase: The forthcoming Enfant Terrible-releases

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Over hundred releases have been shared to the world through Enfant Terrible. The sub-label Gooiland Elektro is almost up to a third of that number. What an exciting time to be alive, especially considering the quality of releases that has been put through both labels. Having garnered a notoriety of being a good label when it comes to experimental electronic music, people have started to notice their presence even more. We’re setting up a digital showcase of the releases that are coming out now in the beginning of October.

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LCN – Autonomie EP

LCN or the alterego for Le Chocolat Noir have been a guest on the 2016 compilation on Enfant Terrible, titled “Noblesse Oblige“, with the song “Appartenance“. The only other release is a collaboration with Zarkoff on the Iron Flute 12¨ released by Return To Disorder. His electronic music could be described as some really weirded out electronic body music, together with electro vibes that keep the notion of sanity intact. Claustrophobic minimalistic and repetitive, always on the edge musically and on par with other acts of the same caliber, maybe even in a corner of his own.

This will be his first multi-track release and EP, which is an exciting thing in of itself as this kind of music almost never make it through, unless you’re into it. For those who like the more experimental side of earlier electro, this release is something you should look into. A mixture of french and german can be heard within the lyrics of the songs. Everything is an eerie reminder of how sullen things can be.

It will be released on a limited edition 12¨ (of 200 copies) with screenprinted sleeves, as Enfant Terrible (ET052) and Gooiland Elektro (Gooiland 29).

Tracklist (with previews):

A1 N’Écoutez Pas Tous Les Conseils De Vos Amis
A2 Dans Mon Désordre

B1 Solitude
B2 En Retirant

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Savage Grounds – Area Of Violence

Switzerland duo Savage Grounds have laid their foundations with another label – with three releases on Lux Rec – now join up on Enfant Terrible for their latest EP. Their earlier sounds are not as refined as they are on this release, where it packs a momentum unheard of when it comes to electronic music. It is really heavy but at the same time catchy and melodic. According to the label itself, these musicians venture through and beyond their description of “post-techno” – what ever that is supposed to mean anyway. This is music that transcends those etiquettes but fit into them like a glove at the same time. It is rough, gritty and unrelenting.

Taking obvious steps into acid and industrial as well, alongside electronic body music, this seemingly instrumental take on those genres combined is well-matched. They outclass most of what you’re able to listen to when it comes to these genres post-glory days. At first a mesmerizing but gloomy appearance musically, quickly descending into utter hopelessness and then back again when hope shines eternal in the end. It’s one of those offshoots from this great label that make everything worth it, even if you can’t appreciate the level of experimentalism they work with.

It will be released on a limited edition 12¨ (of 250 copies) with screen-printed sleeves, as Enfant Terrible (ET053).

Tracklist (with previews):

A1 Concrete Tunnels
A2 The Role Of Iron

B1 Wall Of Rubber
B2 Negative Spaces

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Staatseinde – Neue Zyklus

The débutantes with the name of Staatseinde present their first EP, 6-track strong, with the same playfulness as ever but wrapped in a more serious and sinister tone. It brings back the more emotional side of electronic music as it is fine-tuned to our heart’s delight, relying on the more basal human needs musically as they churn out melodies upon melodies, with no strings attached emotionally but a hell of a lot invested when it comes to the listeners attentiveness.

If you thought the a-side wasn’t weirded out enough in terms of experimentalism, see the other side (b-side) for that almost pop-oriented edge and electro-pop vibe that brings out all the ghoulish tendencies of their sound. Yes, one can very well hear the influence of Welle:Erdball on some of these tracks, if they had a screw loose and were more pleasurable then their latest albums. Staatseinde’s earlier releases will remain the favorite for now but this release is worth checking out for the sole reason that it is Staatseinde.

It will be released on a limited edition 12¨ (of 250 copies) risograph printed sleeves, as Enfant Terrible (ET054).

Tracklist (with previews):

A1 Min Min
A2 Kosmos
A3 Darling

B1 Just Chaos
B2 Volar
B3 Yedo

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Garçon Taupe – The White Spider

This is a release I myself would get only because of the aesthetics of it. It has a wonderful schismatic feeling to it, the contrasts of it are also wonderfully pleasant in a gruesome kind of existential manner – perfect for Autumn and the coming winter. Garçon Taupe is new for us here at Repartiseraren but nevertheless as it is an Enfant Terrible and Gooiland Elektro release, we’re sure we’ll be somewhat in awe. It is a completely dutch affair it seems, having only had some of their tracks released, by the label Narrominded.

It is a very quirky sound. You either love it or hate it, think it is enigmatic or simply an annoyance. One can’t deny that their sound is somewhat unique in a way. For the acid-lovers the b-side will be a huge surprise and it slowly grows on you, as the beats pace along fast enough for ones limbs to awkwardly match themselves to the rhythm. The last song on this record holds an especially groovy beat which is poisonous to say the least.

As a joint operation between Enfant Terrible and Gooiland Elektro, this release will be on limited edition 12¨ (of 200 copies) with screen-printed sleeves, going under Enfant Terrible (ET055) and Gooiland Elektro (Gooiland 30).

Tracklist (with previews):

A1 The White Spider
A2 Roll The Dice

B1 Crevasse
B2 Retreat

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Thee Showcase [#8.6]: Id3m and Deuil!

2953837284-1Thee Showcase is back once again. For everyone with taste or distaste for music, you might actually find your own fix. First up is the Spanish crossover band Id3m. Last year they released their first album which was recorded at Studios Area 61 and it’s titled “New world nemesis“. There’s something interesting about their manufacturing of grindcore, hardcore and metal in one. It’s a rhythmic specimen which often takes its turn, decimating both the realms that are bestowed upon them, but also introducing an unconventional method of crossover. Usually, crossover is all about punk and hardcore, but I decided to use it here because I see it as an apt description. It actually also carries some hints of the all so famous Gothenburg melodic metal sound. I also think that they manage to combine the general grittiness of real death metal, with the more brutal and speedy grindcore, with hints of their melodic self. Some of the parts that are less melodic seem to float neatly into the more melodic nerve of this band. It’s everything you’d want a cheesy melodic death metal band to be, melodic but also with hints of overall brutality. Actually, some of the hardcore that floats into their metal parts form a little bit of metalcore at the edges, but not too much. I’m not very fond of metalcore, but it should be done right or at least be minimized to just a minor influence. This is the metal I could recommend to anyone that simply wants everything from metalcore, hardcore, grindcore, gothenburg melodic death metal, death metal and everything in between in one sound-scape. If they turn it up a notch, get a little bit more tight and decide which influences to cut, just to make it less messy – then they’ve got the world at their feet. Tracks range from “Here come the puppets” to “Spider web to the little near“, it was released by themselves in October last year.

2095305637-1Another band that is being featured today is also in the same department. They might not have the same influences, but could be categorized as metal. But they’re surely beyond that one label. The Belgian band Deuil have put their effort into an entire different category, with their release titled “Acceptance / Rebuild“. A general topic that they seem to revolve around is the notion of destruction, but also the notion of starting once again, but from scratch. After an almost spiritualistic introduction, á la monks and almost tribal hymns, they’ve put a line in the sand between ambiguous and thoughtful. Even though I don’t really prefer the mix of shoegaze, drone and black metal in one – they’re worthy of taking at least a little bit of the crown for being purveyors of an interesting sound. It’s been around for sure, but they utilize it in a totally different manner. With extremely long songs, featuring everything from droopy drones, to fluorescent shoegaze and finally the huge impact of raw orthodox black metal. Their slow and noteworthy escalation of the sound-scape itself is wonderful, as it progresses through a multitude of landscape before the unhinged black metal environment starts to engulf everything in between. I’ll also have to say that they include the element of doom metal with a pretty interesting twist, amongst old and forlorn samplings that can almost be heard in the wobbling noise that is their current destructive landscape. Nocturnal would be the word, destructive another and abandoned a third. It’s a pretty tempting landscape, but I must say that you need to have heard the likes of it before you venture into it. This is not for the meek, as you’ll transgress both noise itself and wander into unknown territory where you won’t know the in and outs. Featuring the two tracks “Acceptance” and “Rebuild“, released by themselves on the 31st of January this year.

Thee Showcase [#8.5]: lié, Joanne Pollock, Wildlife and The Systemaddicts!

1775541042-1Hey, hey, hey! We’re at it again. You’re getting used to the presence of Thee Showcase. If you’re not, I’ll have to hypnotize you into thinking about it. Well, first up this time is the band lié which consists of three people from Vancouver, Canada. I actually chose to cover their “Demo” this time around, since I like it more then their self-released and self-titled cassette on Function Operate. This is the kind of punk we all want, the one that goes by the predecessors whip and conjures a post-punk feeling. Calling it “dark punk“, as it is called may be an apt description. It feels like cold wave and post-punk morphed into a crazy whirlwind of teargassed punk. It’s punk you really can’t have your eyes open to see, it is punk you simply must hear. Dwelling in the concrete dungeons of larger cities, symptomatic of that particular angst. It feels like they’re trying to convey the feeling of aridity. In general, their music is much more gritty, since its from their demo-sessions of the same tracks. At times it also feels like punk has left the building to get to know its replacement. Or, could it simply be a new form of punk? Might just be the aforementioned. Everything isn’t tight as it should be, it’s at times sloppy and draggy, which has a charm in itself. Vocally, outspoken and dangerously cold-hearted, is a new punk formula that might not be a replacement, as said before, but an understatement of the same. Pressurizing, tenderizing and materializing. Three words that can be describable, but might not actually be it. Well, fuck it, this is hard. But it is a great listen all-in-all. The three demo-tracks featured are “Muse“, “Pressure” and “Fossoyear“, released on the 29th of January by lié themselves.

4291335105-1As usual, I almost always miss great things. That’s why my blog sucks so much. Or, yeah, it might not suck – but I’m not always up to date. Time to feature the artist Joanne Pollock from Toronto. She’s released a smaller album with four tracks, which goes by the name of “December“. It is quirky, IDM-driven splendor which fuels my mind with a colorful entrapment. You’re drawn into it by the interesting use of everyday objects, or so it seems, when you listen to it. I might not even know if it is, but it surely sounds like it. This could’ve been featured in a Japanese anime, in any scene that involved a large-eyed youngster seeing his or her first carnival or the likes of it. One thing that is good, is that you simply cannot categorize it, even though you need to at times. It’s a slab of IDM here, a brick of ambient there and an experimental vein that never seems to stop its own flow. Nevertheless, every detail must be remembered and is remembered. That’s the fascinating thing about Pollock and her music, or at least this release. No tone goes unnoticed. It can go from simply minimalistic, to bombastic and grandiose in seconds. The rhythmic and arrhythmic sense of belonging fuels the grace of her music and puts it in a cup for you to drink up. Think of a sensational meal you had, but make it transgress into music and I can assure you that this is what it sounds like. It provokes an emotional reaction that is hard to stray away from, since you bob your head to the music and think: “Ah, that’s where she put it!” when suddenly, out of nowhere, a sound comes out and grazes you with its virtual appearance. Four tracks are featured on this release, ranging from “Home“, “First Night In“, “Quiet Places” and the last track “How Fortunate“. It seems like she released this herself.

1004747893-1Quickly, we must move out of this, right now! It’s time for something completely different. This time the menu features Wildlife, which is a relatively stable and mainstream indie band, also from Canada. Four guys from the land in the north of the US of A. They’ve released a twelve-tracked, full-fledged album, which goes by the name of “…On The Heart“. A pretty fascinating release, since the depth of the music is uncompromising and not on the stick of the indie-elite. Nothing here is underproduced nor lo-fi. It also sounds like it could be featured in a film or something like it, since the width of space they have their chessboard on is so wide. Also, the sincerity of the vocalist is very tell-tale, as he includes you into their story with the first track. Therefore, you’re stuck on a journey now, trying to delve into the most uptight of indie-rock. I don’t mean uptight as in anything negative, simply that they live and thrive of simplicity, where love-songs and the positive humorist approach is dominating. Which re-assures you of a world that isn’t that dark after all, with the colliding drums, the spectrum of different riffs and solos at hand. Something a little bit unconventional, after all, even though it sounds pretty mainstream. This will hopefully take the crown and make sure that they’re ruling hereafter. But, hey, I like it a lot. It is nostalgic at heart, at least for me, since it reminds me of a lot of the earlier posturing of indie-pop and rock – but also bands in that particular genre that sought out the middle. Featuring songs ranging from “If It Breaks” to “Two Hearts Race“, released on the 5th of March on Wax Records.

2095041751-1Last but not least, we feature another even more interesting band. This time, breaking the streak that Canada has had, since this band – called The Systemaddicts, are from Australia. One of the surprises when hunting for music is when you return to the point you’ve been at all the time. Simply not realizing that a new album has been released, which was titled: “Do You Really Want My Love?“. It came out now in the month of March. A strength that you can give them is that they’re a larger group of people making music, which means a lot of instruments are included that are not normally used. An organ, some trumpets and an unconventional approach. Too bad that the singer sounds like he’s off-key with the rest of the band, but I like this voice. That isn’t the focus though, since the music is hell of a lot tighter. Which is what my brain automatically focuses on. It’s melodic, somewhat upbeat and you can’t even think it’s garage-rock, but it is. One thing that is punk, however, is the singer. Because he is breaking the rules and when you hear the pipe he’s got, you’d be surprised. At times it just feels like he’s completely defiant. Somehow he manages to add another color to the sound-scape with his outrageous behavior! Or, yeah, maybe not outrageous – but punk! I like what I’m hearing even though it might not be my favorite thing about them. Though it reminds me a lot of the older bands within the same genre, but maybe a step further away from garage-punk and rock. Yeah, you should simply check it out. Featuring tracks like “Hill and Sea” and “Jam (Secret Track)“, released by themselves, I suppose.

Thee Showcase [#8.3]: Torquem, Brou de Noix and twothirtytwo!

1572809631-1Quickly, move fast, we’re at Thee Showcase again. It’s time for another round of great music. First up this time is the band Torquem, which is composed of three guys from Paris. They’ve currently released their latest album “Ansiktet“, which means “the face” in Swedish. Well, I would know, because I am after all a Swede. Delving into their world is a happenstance that would slowly but surely evolve into something greater. The tight rhythms, the suggestive melodies and the emotionally consistent music that they’ve put on for display, blends the best of jazz-influenced intermezzos and post-rock-induced experimentalism from different ages. It feels like you’re on a trip from a time and age to another, whilst you hear the clinging saxophone speak its own language, with fluency, as the baseline drums in another part of the song and; here comes a sample. They call themselves “cinematic rock“, which is something I would agree on. There’s difference changes in the structures, as the melodies change and as every mood is being displayed throughout. This multifaceted piece of music is simply unveiling itself, with ambitious intent, to knock us down on the floor. Ambitious would be an underestimate, because every song feels like an orchestra that simply puts its mouth to it. Even though the songs might not be that long, every piece of instrumentation makes sure that the huge suspense offered, doesn’t get lost in between structures. It feels like they’re connected and you can simply sit back and relax. The sound-scape itself is grandiose, but simply doesn’t want to leave any detail out of the mix, so whoever mixed this piece of interesting music should be proud. Gradually, you’re welcomed into the world of Torquem and it’s a pretty wonderland filled with experiences, extended periods of suspense, gratitude, sorrow and a sense of belonging. Thank you so much. Songs range from “Floehm” to “Elveleiet” and it was released on the 1st of March, by themselves – I guess. If you’d ever want a CD rather than the digital experience, you can mail them about it, over here.

2428207702-1Meet your maker, or meet your raver. Or something like that. Anyway, the group Brou de Noix are from France or Japan. I don’t really know which country. However, they’ve currently released an EP or something, titled “444“. If you combine the darker elements of industrial, the atmospheric guise of ambient and the concrete sound of old-school electronica, in the wake of dance or disco – is this what you get? I don’t really know. There’s so much going on when it comes to the genres, that it’s hard to categorize. But booming beats, hard industrial noises and cars driving past you is a common denominator. Well, if you’d put the word disco beside the word industrial and threw a party within the confinements of an abandoned warehouse, this is possibly what you could get. What’s clear about it is that it’s a totally new approach to what you’d think could be electronica. Everything is at its point and peak, the trashy sound-scape waltzes around, trying to get your attention. But it’s slow enough to not be a stirrer. I must agree that my brain is in total decay now that the stereotypical formula can’t be placed. You know that I’m not formulaic, but damn, this is hard to describe. Willingly, I’d bet every penny on it being one of the most experimentalist approaches in a while, worthy of that particular word, in comparison to everything that gets it slapped upon itself. Quickly, put on a gas mask and head for the elevator, we’re going to party in an abandoned warehouse – together with Brou de Noix and their post-disco-industrial-rave-music. The three tracks featured on this release are “Ashes“, “Compost” and “Where the wild things are“, it was released on the 3rd of March and is totally D.I.Y. for what I know.

3335825678-1Since I feel good today, I had to add a third band to this list. How about some alternative rock meets classic post-punk? Yeah, I know, I saw it in your eyes that you wanted it. This is another one of those bands that compare themselves with Joy Division, which is undoubtedly a little bit true. Most of the time I ain’t too keen on them, but this is an exception. They’re from the UK and have played in bands like The Xcerts, Bleech, Native and The After Party. Not that I know any of those bands, but that doesn’t matter anyway. They’ve currently released a single for their upcoming album titled “Patriot“. Something that gets me with their music, is their sense of nostalgia and how they can mix it perfectly in between shades of silence and a hurricane of riffs that face you directly. Only thing I wouldn’t be a fan of is the snaredrum sound, because it hits me off balance each and every time. Well, it’s saved by the wonderful ranges of British dialect. His sincere words cut through butter like a hot plastic knife. Or, yeah, it feels like someone is cutting an onion in front of your eyes. Very emotional, this release, with everything topped off. I guess the most important thing is how they arrange the instrumentation, how they fit in the different overpasses and how they do it with such precise vigor. Because it’s everything that you’d need to get an emotional reaction of this scale, because I recognize myself in some of the lyrics that they put out there too. Which is a great point for a band that I haven’t known anything about in the past few days. It feels like I’ve known them for ages, by now. The riffs, the drumming and the suspense when the singer and the back-up go out in a whirl is amazing in one way or another. The only track featured is “Patriot“, which was released recently and will be available for streaming on their bandcamp until the 18th of March, then it will be available for download together with the B-side titled “Lets Go Out“.

Thee Showcase [#8.2]: The Otters and Les Baton Rouge!

1886079149-1We continually march on, even though we’re not in a band. It’s time, once again, for Thee Showcase. Letting you know about some new music and what we think about it. This time we’re up for The Otters, whom are a duo from San Diego. I don’t think they’re active anymore, but I found their only song “Nowhere At All” from their coming album (now on hold) “LP I“. This song is everything you’d want your own band to be, I think. Everything from the emotional intro, shyly moving along with the artsy vocals. Indie rock couldn’t possibly be better when combined with art punk and surf punk. Every detail on the song is interesting in its own aspect, as it contributes a lot to the wholehearted vision of the song at hand. The different nuances are in essence what makes this band great, or at least their song that they’ve premiered. In the beginning, you can also sense some of the odder post-punk, if you turn back the clock to the 80’s once again. What also feels out of shape, is the fact that they heed to every little detail. Not many bands do this, not many bands seem to catch every detail perfectly. However, everything in the song might not be intact, as the synthesizer reminds me a lot about other things than a great song or band. Sometimes it isn’t tight either, but I’ll leave that for now. The different changes in structures are superb and it sounds inviting enough, it also reminds you a lot of the calmer indie pop/rock acts that can convey a range of emotions through a little sphere in one song. All I can hear in my mind right now is: “I don’t want you, I don’t need you…“, but to be fair; I really need you now. The song “Nowhere At All” from their supposed future album “LP I” is what’s featured here, which is a shame – since I wanted some nuances to compare with. However, you should donate some cash or download it for free from their bandcamp down below.

1529479584-1I can figure out why this band is one of the most influential ones. Where are they influential? In Portugal, where the band, which goes by the name of Les Baton Rouge, is from. They’re currently at bay with a new album titled “Canal Express“, which is a blend of new-wave and more alternative rock. It feels like much of their music revolves around suspense, because you don’t know what’s going to happen next. I don’t sense as much art rock as I sense alternative rock in the mix, with some subtle new-wave influences that can be found here and there. Everything about them is concrete, there are fastened structures that make listening even more bearable. Nothing is sloppy, everything is calculated and on point when you listen to it. The vocals reminds you a lot of older punk bands, when it comes to the sheer energy and volatile expression. A little bit of it also reminds you a lot of an eccentric Siouxsie, even though she’s been referenced a million times when it comes to bands of this caliber, you’d have to say it again. High-pitched yells, metamorphosing melodies and rhythms – as you move through one of their passages. Sometimes the landscape of music can be a little bit stale, when it goes with the same pair of drums you’ve heard a song before, but it mellows out when you realize that there’s only four songs. At times the music feels adaptable, as it changes around in the overlaying structure, rather in the fundamentals. Especially when it comes to the quirky, and sometimes sinister, riffing that goes on in the overtly noticeable sound-scape. Pay attention to those changes, because I know you will. It can change in any minute, but you will not anticipate it, therefore you can surely call it “suspiria” – like the band itself does. Interesting music that stands on its own feet, doesn’t mind to sway the conventions a bit and tries hard to do something worthwhile. Featuring the four songs “Carburator“, “Punch Timeline“, “Abrasive Humdrum” and “So Much For Evolution“. Their digital version of the release is live since the 1st of March and their 15-year celebratory CD will be released at their gig in Lisbon on Musicbox on the 23rd of March.

Thee Showcase [#8.1]: The Tragedy We Live In and Bombardier!

1553268848-1These tragedies just keep on coming. No, it’s not really those tragedies, but in Thee Showcase you will know which one. Opening for this edition is The Tragedy We Live In from Belgium, which is one of the longer names being featured here and also one of the more emotional ones, musically. Later this year they’re releasing their first self-titled album “The Tragedy We Live In“. Some doom here, a little bit noise there and a whole lot of post-rock. It begins by heightening the expectations, with an equally as long introduction. The suspense is given in an early stage, with a lot of focus on the instrumentation doing the job. Well, it’s because most of the music is totally instrumental, if you don’t count sampling as a sign of breaking the instrumentality. Most of it focuses on giving the calm and acoustic passages some kind of opposition, like two polar opposites fighting between each others. Good and evil, evil and good. Suddenly, it can embark on a noise-driven post-rock journey which smashes everything in its wake. Until a clearance is given for it to slow down, whatever that could be, then prancing along with the calm and ambient-oriented acoustic nerve of themselves. It also seems like each sampling is properly cut up and cut out for each song, which isn’t just a random sampling, like in the song Wahnsinn which is driven (in the beginning) by a shouting Alex Jones. There seems to be a thematic order, concerning these samples, or at least something that can be organized. However, both the sincerity of the acoustic passages and the externalized energy of the post-rock mayhem at hand, gives nothing else to ask for. It is enough to instill a certain form of peace or a certain form of havoc, whenever and wherever you can hear it. That’s how I like it to be, if it doesn’t cover everything, I will not be happy. Songs range from “The Tragedy We Live In” to “Soultaker” and it will be released in two weeks on vinyl. It also seems to be a total D.I.Y-endeavor.

1559499263-1Now, for something completely different. This is a guy going solo, or yeah, he’s been solo since 1998 – under different names. He goes by the name of Bombardier and is currently up to something sinister. His latest mission is a track that goes by the name of “Vice“, which is not an album, I understand. But I had to do this anyway since it’s a pretty great track. The industrialist nature of it, the clashing and sinister environment revolving around it, the booming bass drum that simply cannot prevent itself from getting into your brain. It’s oriented in its own landscape, so the focus in it is very atmospheric. Even though it might not enter the sphere of industrial as a whole, it’s certainly got some layers that would hint of this putrid influence. Also, the overlaying framework of electro meeting techno is enough to even get the most hesitant to grab his headphones and start listening. Slowly pacing, endless macing. It feels like the predator is catching his prey in a labyrinth of some sort, with mechanisms that are located throughout it. There’s a race against time and you need to be quick to even understand what to do. While the crushingly heavy synthesizers race past you and give you a hard time, as the bass drum in the shape of a hammer, jams itself into the sound-scape. Everything here is about force, everything is aggressive and there’s no way out of it. It’s an experience to listen to and it belongs to the gritty environments of other genres, but holds itself confined within techno and electro for the most parts. Only track featured is the track “Vice” which was released on the 24th of February, by Bombardier himself.

Thee Showcase [#8]: Hela and el CAMINO!

843412213-1Hello, you’ve now stumbled upon Thee Showcase. Which is an attempt to make everything a little bit more classy. First up is the band Hela from Spain, which was created from the remnants of the band The Sand Collector. They’re currently prevalent with their single for their coming self-titled album “Hela“. It seems like they’re trying hard to be doom, but at the same time adhere to the more classic vein of heavy metal. In other words, they’re an interesting mix of those two primary genres. When it comes to the atmosphere of their music, their clean vocals with filters seems to be incorporated with the more melodic vein of doom metal you’ve heard for a while. Instead of chugging along with deep passages that are distasteful in their unmelodious splendor, these guys have caught the drift of melodic passages. Across the Atlantic, rounding every corner, being just a breath of fresh air between the two pair of contested genres. It’s noticeable how much of the music that is actually connected to the core of the melodic content. Nowhere to be seen is the more droopy feeling you can get by listening to a lot of doom metal. I hail them for this successful elimination of the bad things within that particular genre, as heavy metal lends them a torch to light the entire project ablaze. Hopefully, they’ll have even more success with their whole album when everything boils down to it. Because the two tracks being featured on this single are absolutely wonderful in their total dismemberment of a once proud genre. No, they’re actually the ones that blows life into it once again. Tracks featured on this single is “Horns Of God” and “The Wicked King“, the album itself will be released someday in May this year. It seems like it will be a D.I.Y-release.

NTR012 SMÅLAND 12 Jacket (No Spine)Another band that’s being featured here is from the same realm as me. They might not come from the same city, but el CAMINO are from Sweden, probably Småland. Before they release their second full-length “The Gold of the Great Deceiver“, they’ve actually released a three-tracked single which goes by the name of “Småland“. It will also be the main focus for Thee Showcase. What’s interesting about this band is their unorthodox brand of heavy metal meets doom metal, which isn’t actually in the same vein as the band mentioned before, but more dark and less quirky when it comes to the melodies. Much of the music seems to be centered around the vocalist, which does a hell of a job to conjure this nocturnal feeling and landscape of perfectly laden music. Reminds me a lot of the earlier Swedish death-doom metal, which have always been great in the department of producing both unmelodious and melodic content. Another thing which I would adhere to when listening to this, is the fact that they blend both Swedish and English vocals when it comes to the lyrical content. There haven’t really been many bands that could even produce great metal when the lyrical content had to be in another language than the English. Also, another thing that has to be mentioned is that they pull of a great cover of Venoms popular song “In League With Satan“, without it sounding ridiculous. It’s some mean music these guys produce and I hope their coming album will be something you actually can’t wait to get your hands on. Not to mention the obvious influence of some of the greater bands from the realms of NWOBHM. Sweden have been great so far when it comes to producing some unique music. I’m hoping they do more songs that are in Swedish, but I also hope that they prevail in the Anglo-Saxon language that is English. This release feature the songs “Småland“, “I lag med Satan” and “Daemonangel“. It was released by the Swedish label Night Tripper Records on the 26th of February. Their second full-length album “The Gold of the Great Deceiver” will be released in April.