Ljuslykta – [Precis som alla andra, men vi skiljer oss åt ändå] – Del I: Suffering Hour, Khem, Saturniids och Svarti Loghin

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Vi vet att det finns människor som rekommenderar musik, vi är en del av detta mikrokosmos också, varesig vi vill eller ej. Det kan hända att folk som läser detta inte tror att vi är föränderliga – fastän vi gång på gång bevisat att vi är det – dessa individer kan sluta läsa nu. På tiden att det händer något nytt och att skutan styrs i rätt riktning igen. Ner i den smutsiga underjorden, gräv upp det som andra inte finner vid första anblick, rekommendera det till folk som faktiskt bryr sig och har ett intresse av detta.

Ljuslykta är en ny serie som bygger på samma koncept som “spotlight“. Skillnaden är att detta är mer utförligt, men det finns en hake – vi söker enbart musik inom Sverige. Vad finns det som är rekommenderbart i detta landet? Man kliar sig på huvudet och tänker att det egentligen inte finns särskilt mycket, men plötsligt blir man motbevisad. Här dyker det upp i olika delar. Det finns inte en tanke på att stöta och blöta det som redan stötts och blötts miljontals gånger via andra fanzines i bloggosfären och inom mindre smickrande medium.

Nej, vi begränsar oss visserligen, men så enfaldiga är vi inte.

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Suffering Hour – In Passing Ascension

Ett debut-album rikare har svenska Blood Harvest blivit – ett skivbolag vi inte ägnat en tanke åt tidigare, så det var väl på tiden. Suffering Hour har blivit en del av detta undergroundmaskineri. När man ögnar igenom skivbolagets tidigare släpp så återfinns det intressanta släpp av bland andra Sorcery, Cemetary, Magnus, Bombs Of Hades. Så man känner åtminstone till en del band, även om vissa andra är höljda i dunkelt ljus.

In Passing Ascension” heter albumet. Åtta låtar totalt. Det märks av att de har varit inspirerade av Dead Congregation, precis som bandet själva förtäljer när de fått beskriva det. Det är också just den influensen som känns starkast, även om fokuset på omvälvande och precisa riff även känns igen från Inquisition – som de även beskriver som en klar influens. Det som är solklart från start på detta släpp är hur de integrerar atmosfären i musiken, det mer elektroniska får kickstarta den vilda käftsmäll som är Suffering Hour. Egentligen är det både de individuella delarna som gör helheten och tvärtom, men hur de lyckas att få en att hålla koll på allting samtidigt som ens huvud dängs in i väggen av hårdheten i riff, trummor, skrik och bas – är proffsigt.

Egentligen hade man kunnat tycka att det bara är en malström av allt och ingenting, men det följer en röd tråd och har många föränderliga delar som får en att gilla deras musik. Alla influenser blandas i ett någorlunda rörigt men sammanhållet kaotiskt ljudlandskap. Från vår favoritlåt “For the Putridity of Man” till “Procession of Obscure Infinity” uppvisar de en makalös kunnighet i sina individuella roller, med sina instrument. Samtidigt som det mest attraktiva i black metal behålls, kastas man in i en värld av death metal – där bägge genrer hålls åtskilda för att sedan dyka in i varandra.

Förutsättningarna för detta album från start till slut har inte varit en tidig besvikelse, eller ett sent uppvaknande hos musikerna, där de försöker ställa allt till rätta, utan snarare en kreativ imploderande metalapokalyps med stadig grund att utgå ifrån rakt från början. Efter att ha lyssnat på “Hostis Humani Generis” av Dead Congregation så att den inte längre går att lyssna på, så är nästa logiska steg “In Passing Ascension“. Verkligen. De har helt klart sina olika sätt att göra musik på men det smittar av. Så för den som är trött på oinspirerande black metal och likaså death metal – är detta påbörjan av en helt ny era av bra sådan.

Ni kan lyssna till albumet i sin helhet här nedanför, vi föreslår även att ni stödjer skivbolaget och bandet genom att köpa en fysisk vinylskiva, t.ex. I skrivande stund finns det ett exemplar kvar av silvervinylen.

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Khem – Hatehammer

De två mörkklädda männen i Khem har släppt en debut-EP som fått namnet “Hatehammer“, via Änglaslakt Productions, som tidigare släppt alster med Ultra Silvam – med andra ord två olika projekt vi inte har någon kännedom om alls, vilket gör detta extra intressant. Kvalitén är vad man kan förvänta sig av en demoproduktion, vilket det med all sannolikhet är. Eller så är det bara så att ljudet gör sig bra med musiken.

Från de smattrande trummorna till enkelheten i riffen, sprider sig en känsla av vanmakt och totalt hat. Inlevelsen i sången och den helt ohämmade atmosfären gör att detta släpp blir något av en resa tillbaka i tiden på många sätt, men dessa herrar är bra på att konstruera riff och lägga det på en väldigt hög nivå rätt omedelbart. Intensiteten i framförallt “Culling Life” verkar ha gjort så att “Hammers of Hate” får ikläda sig rollen som en av de snabbare låtarna, mellan början och slut på denna EP innehållandes tre låtar. Även om det inte går att uttyda exakt vad som förmedlas rent textmässigt så täcks det utav skickligheten som levereras via musiken i sin helhet.

Även om namnet på släppet kan vara oinspirerande, så är det i all sin enkelhet ett njutbart släpp från början till slut. Det har allt man behöver när man lyssnar på black metal, och lite till så klart. När man tror att det ska bli ett bombastiskt outro av det hela med låten “Splendorous Maw of Darkness“, så lägger de extra krut och stormar in genom portarna istället för att ljudsätta sin egen avfärd. En virvelvind av trumslag och gitarriff lägger sig över en omedelbart, där själva melodierna får bära upp hela skelettet på sina egna axlar. Allting vilar på det. Det är rått och utan att kompromissa med något.

Vi tycker att ni ska lyssna här nedanför.

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Saturniids – Saturniids

Om det inte redan var hemlighetsfullt nog, så sluter Saturniids cyklen med sitt självbetitlade albumsläpp. Ett mini-album bestående utav fyra stycken låtar, förmodligen är det släppt av de själva också. Här blir det annorlunda och inte särskilt mycket black eller death metal. Det blir istället sludge och doom metal för hela slanten. Tillsammans med ljudbilden i deras musik har de också lyckats få till en imponerande estetik.

Vad som känns återkommande, åtminstone om man ser till de släpp vi tidigare skrivit om i denna artikel – är hur passionerad sångaren är. Han ger verkligen allt när han släpper lös sitt inre vrede. Även om sludge och doom metal ibland kan bli lite väl segt för våran smak, så är det intressant hur Saturniids utövar en annan form inom dessa genrebarriärer. Visst, det är inte särskilt snabbt när det kommer till tempo rent generellt, men passande nog så ger tyngden och längden i dessa låtar ytterligare ett lager av imponerande musikalitet. Man känner att allting ska stanna upp när som helst, och plötsligt när nådastöten kommer i form av avstannade trummor och gitarrer – så levererar de något extremt explosivt, vilket man verkligen kan höra i “I.C.B.M.” – passande låtnamn för övrigt.

Det är rasslande, kvävande och framförallt en nydanande form rent musikaliskt som ingjuter hopp i en. Om det äldre materialet som EyeHateGod gjorde förut möter slumpmässig svensk doom eller sludgemusik, och i en fusion blir något mer allsmäktigt – något eget. Det som är bra med dessa genrer är ju att det finns ett mycket större utrymme rent musikaliskt, så man behöver inte känna allt för mycket vemod när “Into Oblivion” kraschar ut i ingenstans. Förhoppningsvis finns det något skivbolag som öppnar ögonen och tar detta för vad det är – guld. Ja, det är faktiskt nästan så pass bra att man skulle kunna säga att det är något liknande.

Ni kan lyssna till albumet här nedanför.

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Svarti Loghin – Mörk Energi

Solstice Rex, som för övrigt enbart släppt Svarti Loghin-material, har detta år förverkligat albumet “Mörk Energi“. Egentligen visste vi inte om vi skulle ta med detta, men eftersom att det är ett så pass intressant släpp på så många olika sätt, så valde vi att ha med dem ändå. Vi har tidigare sett, men inte lyssnat på Svarti Loghin, utan det har bara varit något man sett i förbifarten. Estetiken känns inte särskilt lockande, men när man väl tryckt på “spela” så märker man fort att det finns något att hämta.

Introduktionen, låten “Stjärnätare Dväljs Under Torv Och Moss“, levererar både socialrealism i sin mörkare form – uppgivenheten – och den bländande akustiska mystiken rent musikaliskt, tillsammans med renodlad svartmetall. Det svänger inte fort, men det kan ändras rent atmosfäriskt på tio, tjugo sekunder. Från ett magnifikt akustiskt stycke till blastbeats och avgrundsvrål, det är verkligen någonting som gör Svarti Loghin egensinniga. Inte för att ingen gjort det förut, men hur de manipulerar atmosfären i låtarna samtidigt som de lägger in de klassiska komponenterna inom genrerna de vandrar emellan – är verkligen massivt.

Bland låtarna återfinns också ett par underbara stycken ambientlåtar, som till exempel “Katzengold“. Det är intressant hur det kan skifta så extremt mycket på bara ett par låtar, för att sedan gå tillbaka till det brutala snittet av svartmetall. Favoritlåten är “Vakuum III“, där det på sju minuter genomgående levereras musik av högsta kvalité, med genomtänkta riff och där utrymme även ges för de mer utsvävande delarna av detta projekt. Under masken av misär gömmer det sig en guldgruva av vackerhet som man bara kan höra om man lyssnar extra noga, i vissa delar så gömmer det sig bakom hårdheten och grymheten, men det finns där någonstans.

Dualiteten i musiken är medryckande. Det står mellan allt och inget, det finns inga mellanting. Vi tycker att ni borde se till att köpa en vinyl, eller åtminstone en kassett av detta album. Det är värt det i slutändan. Ni kan lyssna till albumet i sin helhet här nedanför.

 

Review: The Bug vs Earth – Concrete Desert

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This is one of the first times I’ve taken a good look at a bigger artist and wanted to review what they’ve released. I found the concept worthy of investigation track-by-track, since the whole theme surrounding it is alluring. The aesthetics are interesting and it feels worthy to delve into deeper and see what can be found or what can not be found. I am now about to dissect this release. It clocks in at around 90 minutes – making it around an hour and a half long.

City Of Fallen Angels” is a dreamy but dreary experience. Stating what the title is isn’t enough to describe how the song is. Conceptually it makes perfect sense why it is titled that way – as it infects the overall sound as well. Experimental electronica seep through the headphones and the barren landscape appears ahead of you. The atmosphere is such that it represents that and it takes you from tumbleweed and calmness into the stormy heart of a city. As you come further into the song it charges up for a second and then unleashes the noisyness which is normally reserved for industrial music, coupling it with laidback electronica – messing up your points of reference and as it progresses you’re stunned by the intensity of it. The soundscape is bombastic and doesn’t hold back, but comes in with assertive ease. Lulling you into submission.

Gasoline” is eerie. Keeping the listener at bay while he awaits what happens around the corner. Nothing. Then, suddenly, a slow rhythm brings out the melody and adds to that a solid baseline that is strung out by an electric guitar. Even though it remains in the solid rhythmics that it started with, it warps you into different ones that make you wonder if you’ve lost your mind or not. Layer upon layer of mighty instruments that figuratively catch on fire as he pours on more gasoline. Still, even though it broods primitive melodies and an unorthodox soundscape – it fades out the way it faded in. Nothing catches on in this track but it manages to hold a special kind of craftiness that make it broad and intense under the surface anyway. No need for it to give off a spark.

Agoraphobia” – if you weren’t to begin with, maybe this murky and spaced out song will make you experience the phobia. What feels like the development of a smashing song goes out of its own way to create weird melodies within the melodies and rhythms in the rhythm. The amplified sound of the rambunctious noise that is created by the baseline – or what at least seems to have been created from it – is suddenly paired with riffs that would make you feel a transgression from electronica to non-electronic music is happening. That, however, never happens. I’m not too sure about whether to feel positive or negative about this song, but I’m impressed about how the seemingly out-of-motion melodies later in bring out the experimentalism in its purest form. It is odd, it is weird, it is intimidating to a degree – just to fade out like the other ones have.

Here’s a grime-infused track, “Snakes Vs Rats“, that gathers the best out of that genre and ignore the vocals. They create a sort of underground opera-like electronic music together with the grime-beats. Dissecting the genre for what it is good for and creating a pleasantly huge sound. The most solid rhythm combined with the most forward-thinking of synthesizer sweeps – a glance into the futuristic world as imagined a decade ago – almost bordering to one of the great soundtracks accompanying sci-fis of the 1980’s. The sound portrayed is not an idealistic one, it is a rather bleak non-picturesque and alarming narrative that is being pushed with the song. Somewhere we might be, where we don’t want to be – stuck in the middle, nowhere out, control is absolute.

Broke” is minimalistic to the core. What drives it is a few sounds here and there, well-placed beautiful synthesizers and a claustrophobic atmosphere. A cry for help. Symptomatic of the sound so far is that it relies heavily on the baseline, which helps it progress throughout the soundscape in a great way. Where there is no rhythm, one have to create it in between the noisy and deconstructed melodies that are repetetively churned out – as the outdrawn riffs play a vital role in keeping the maniacal atmosphere livid. There is something about the song that draws on what solid ground The Bug (and Earth) create everything. It is immersive and too real.

From the beginning, “American Dream” is a piece of work just seconds in. Unfortunately everyhing looses its meaning after the monstrous opening. Maybe that is just the way it is supposed to be, as it is certainly not a portrayal of the american dream in any positive way at all. But it by now only feels like an empty statement, having heard the other songs that contain something more then just the formulaic approach he has in this one. It’s good how he draws from his earlier creations and put it into a whole, synchronized experience. What’s bad is that it feels like one has already been here, listened through it and discarded it on the way. Sure, the attention to detail is very ambitious, but it in the end becomes just an outdrawn piece of ambient music that do no justice at all.

Don’t Walk These Streets” hits you over the head and immerse you into a gruesome world. Blindfolded, struck repeatedly by the knife-sharp rhythms and the playful melody of the piano, the message of the song becomes apparent. It is violent in its nature but you don’t have to fear anything, listening to it. You’re far away from the emotions itself – it is like you’ve detached from them and become a part of this message. They marvelously craft something you want to listen to repeatedly, expanding the song every step of the way to make it even more enchanting. The depths of the synthesizers and the crassness of the beats are not temporary – they exist there to give meaning to the soundscape. A very well-rounded song all-in-all.

Other Side of the World” gives off a meditative feeling. After you’ve been entangled into the music – a basedrum hits and catches you off-guard. Every single part of the song has some kind of magnificent tone to it. The different facets stand and fall together, nothing can be separated or it will knock the rhythm and melodies away from one another. As simple as the song might seem, it is very addictive. Here’s a perfect transgression from different genres and what it lacks in rhythm it makes up for in melody and structure.

Hell A” is too hip-hop for me. A genre that is not of my liking at all. If that kind of rhythm and those beats have been reserved for something else – it would be fine. Had it been stripped from the atmosphere and replaced with a better rhythm, it would’ve been a glorious listening as the dark synthesizers come in, sweeping the floor with everything else. It becomes a very energetic song that doesn’t stray away from the better aspects of his music. Without that edge and vibe to it – it would’ve been a lost cause and nothing worthy to listen to at all. It is good that he at least keeps that in but he should’ve left more out this time – in terms of beats.

The title-trackConcrete Desert” is a phenomenal ride from curiosity and into the bleakness of the human soul itself. Right from the start you’re immersed into his world, you’re taking part of what he has created and he leaves no ends open, instead of thinking, one seems to be in need of visualising the music – it really gives off an audio-visual experience that is on the next level. After some of the previous songs it wouldn’t seem possible but he manages to create the narrative, spin it into the conciousness of the listener and give meaning to the instrumentation in more ways than just the musical. Which is good, since this song should be the summary and epitome of what this album is about.

Dog ft JK Flesh” is the resounding adaptation of one of the other songs from this release. He manages to add a whole other sound to it than The Bug and Earth could do. It becomes much angrier, more cheeky. When they had to choose a vocalist, nobody could fit the bill more perfectly – this simply cannot be unheard and fits too perfectly. Same can be said about “Pray ft JK Flesh” – here JK Flesh is allowed to be as expressive as possible through his powerful vocals. After listening this far in it is nice to have this addition in the release becomes it helps it become more vital instead of rehashing everything over again – instead creating something new of it, even more intimidating.

Nothing more can be said about this album other then that “Another Planet” is the perfect outro. Easy to listen to and it makes you yearn for more of this kind of music. When you think about it, the album is solid and pretty good despite its faults. I suggest you get it from Ninja Tune (or The Bug vs Earth themselves) in physical form, instead of digital. Though you might want to listen through it a couple of times before, it still is a good headphone experience. Stream the whole album down below.

Review: Marker – Marker

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Medical Records haven’t gotten that much attention over at Repartiseraren, which needs to be changed right away. They’ve been putting out some really solid releases throughout the years, but as they’ve been etched to the back of the brain for some time – it felt necessary to take a closer look at one of their latest releases. One of those releases is a self-titled one by Marker – it is also a debut full-length release from him – which makes the reviewing more exciting in a way. The album clocks in at around forty five minutes.

It’s been a long time since I’ve heard anything this laidback and dreamy, yet in-your-face emotional. The first song “Identification Of A Woman” stands out from the stereotypical shoegaze drivel, laying down a serious beat and having an atmosphere that isn’t drowned out by the reverb. There are undertones in the vocals that make for an outdrawn, dreamlike scenario that could be listened to for as long as one pleases – without pauses, really. As the song grows on you, it develops that pleasantly emotional vibe which pushes every instrument at the forefront suddenly.

Having been more of a concentrated song that relied more on the combination of the instruments, the synthesizers, the drum-machine and guitar-riffs stand out on their own to add their own urgency to it. As the song comes full-circle in the end and fades out, “Nothing New” draws in from nowhere and is more nonchalant. There’s a boldness that is added into the rhythm, which feels very solid and present. It is a bit less bombastic then the first song and have been stripped a bit. One great aspect that gets more noticeable half-way in is how the reverb is used perfectly to draw out the atmosphere and extend the song, giving it a different character – then bouncing back to the established rhythm.

Now I Know What You Really Think” – the name of the song alone is something that draws you in. As it starts, the accentuated baseline fetch a certain groove together with the basedrum. Starting off minimalistic, gradually attaining the more atmospheric sound which by now feels very characteristic and established only three songs in. What is exceptional about this song is how the melodies are applied with a soft touch and are unleashed with their maximal potential in the end. A nice addition is how the intro and the outro of the song is – as if something tuned on/off a radio or a TV-set.

At The Memory” is nicely laden musically – perfectly set up as a more retrospective kind of track. The melodies are nicely paired up with one another in the beginning of the song, but it kind of sets off on its own further in. I’m not sure what to think about that, but it is made up by how the melodies hold together impeccably. The main ambition in this song are the melodies. Everything else is a bit lacking, honestly. It could be because you don’t notice it as much or because it might’ve been become slightly formulaic by now. The song organically floats on and is caught up in some kind of intermezzo as it ends. Entangled in greatness.

By now it would seem as if this bedroom-pop metamorphosed into shoegaze could become a bit boring – this is proven wrong in “A Problem With No End” – whose atmosphere stands out even more. The vocals add up even more in creating the general feeling of this song. When one thinks it sounds out of tune, the sheer complexity of it all prooves it to be wrong, as it changes in the last second to progress the rhythm and melodies further. As the baseline trickles down and become darker and darker, everything else drifts away and becomes even dreamier. When “Classic II” comes on, it feels like every one of the songs are intimately connected, but not in the traditional way.

Let me explain. Each fragment of sound from each song is collected and utilized throughout, which give similarities but also differences. He plays around with the melodies, the rhythms, the atmosphere – not trying to create anything completely unique with every track – but giving them common denominators – which is especially noticeable with the vocals and melodies. While not straying to far away with experimentalism, his attempt at creating worthwhile music has succeeded. But when you’ve come as far as “Pale Silver“, it feels as if the album could’ve been shortened a bit.

As soon as that feeling is taken into account, there’s an off-shoot of the melody that create something new. Unexpectedly. The anguish in the vocals in this particular song feel really powerful. It is probably one of my favorite songs off the whole record. “What You Do To Me” is a more ballad-like and slower track which make the instruments shine more on their own. It is not as harsh and it in some way encompasses the ride one’s taken as one embarked upon listening to this in the first place.

Come Out“, the next-last song is more of the same but the expressiveness can’t be left uncommented. You feel very frail, but at the same time it gives initiative. One is filled with energy by the sudden shift of rhythm and the angelic synthesizers. A certain kind of hopefulness can be found in the middle of all anguish. Though after having heard this song, as it switches into the last one, titled “Follow It Down” – it feels like a mish-mash of everything – executed poorly. To begin with, there’s a good kind of atmosphere but after a while it goes bonkers. Had it been more structured – it would’ve been a great end to a good album.

You can listen to it in full via Medical Records bandcamp here below. If it is anything for you, I suggest you get it. Apparently it releases on the 21st of July, but if one is to generalize about this album in whole – it is definently worth laying your hands upon. Get the vinyl by following this link.

 

Reviews: Multiple Man – New Metal, V/A – Strategies Against The Body Vol. 2

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Here comes a double track-by-track review of the newest releases, courtesy of DKA Records, based out of Atlanta, Georgia. Their discography includes: Boy Harsher, Dylan Ettinger / Goldendust, Profligate, Fit Of Body, Warning Light, Voice Of Saturn / Anticipation, High-Functioning Flesh, Valis, TWINS and Women’s Work.

As of the 2nd of March they’ve added two new releases to this immense discography – the debut full-length LP-release by Brisbane’s twin-brother-duo Sean and Chris Campion, otherwise known as Multiple Man, the release goes by the name of “New Metal“. Strategies Against The Bodies have now been introduced as a second volume, featuring even more artists then the first compilation. In this article I dissect each song of both releases and tell you my opinion on them. The release was mixed by Matt Weiner (CGI Records) and mastered by Dietrich Schoenemann.

Starting off with “New Metal“, having listened through their other discography, including favorites of mine from Detonic Records – the “Guilt Culture/Boiling Down” double-single – it is fair to say that when introducing this new full-length they’ve grown a bit in my eyes considering the sound itself and the general aesthetics which are pleasing for the eyes as the cover itself (created by James Stuart) reminds one about earlier industrial-releases in terms of appearance. You get a sinister and chaotic feeling in terms of the colors when they mix together, outlining the appearance of a seemingly distraught and/or desperate man. The font is also alluring and you basically get it right if you think the release has anything to do with body music or industrial music.

As the first song “Slow Code” is rung in by the scraping of metal, a violently underlying basedrum is introduced and on top of that a steady rocking beat – which together with other percussive elements mixed together – suddenly jumpstarts an electronic body music rhythm. It’s a pleasing synthesizer which develops into a harsher, more industrial-like anthemic kind of song, as outdrawn baselines and the overlying synthesizers make the rhythm multi-faceted – together with murmured vocals that add to the sinister feeling you get whilst listening to it. It is a somewhat catchy song that draws in a self-assuring vibe in terms of how bombastic everything gets after a while.

Even though it is repetetive in some parts, the soundscape itself morphs into something completely different the longer in it progresses. The chorus brings everything together into the theme of the whole song and what it is supposed to be and convey. It is a cold endeavour but at the same time it is not stripped of any emotions, as there is a whole palette of different feelings that you feel when listening to it. I feel alert, concentrated and inspired, on the edge tuning in.

If the first song was portrayed as anthemic, wait until you hear “Power Fantasy” – which starts with an off-putting “yoo-hoo“, to be smashed into your consciousness by one of the most perfect rhythms I’ve heard in this wave of new-body music. Everything about this song relies on the first synthesizer-rhythm and the percussive elements that are introduced. To add to the general heftiness of the song itself, the vocals together with additional basedrums create an enjoyable repetetive atmosphere which later on looms into a more atmospheric concentration of industrialized sound.

The sudden shrieking of the vocalist reapplies the stripped soundscape and reuses it to their heart’s content. Even after only having listened to the first two songs, one must say that this one – “Power Fantasy” – is something really special. Whether it is the retro industrial feeling that weighs in when all the beats collide, or if it is their special brand of it, is hard to say. But damn it is a really catchy song and even though the lyrical content might be unintelligible at times – the simpleness of it adds into the harsh emotional deliverance – which they manage to do perfectly. It is a jaw-droppingly good song, once you’ve listened through it way too many times.

Now with the next and third song on this release, it is less concentrated to harsh rhythms and electronic body music and more pure electronica with minimal synth weaved into it – I am, of course, talking about “Luxury Boys“. There’s a certain primitive vibe to the song even though the synthesizers, baselines and beats together concoct a swaying and interesting blend of these different forms of electronica. It feels dated, like something out of a time-machine, yet remarkably attached to the modern world as such. However, it would fit great in an alternative movie from the 1980’s.

At times the atmosphere feels like something exotic, especially when you hear the percussion and the main synthesizer which steadfastly creates a memorable thematic, which you end up portraying in your head. It is audio-visually a really great song, however I’m more impressed by the harsher side of Multiple Man. Though they’ve managed to, in their song, convey a more laidback alter ego – musically.

Skin” – their fourth song – has that same kind of feeling attached to it like the previous song. It seems like they’ve changed the general theme of their songs, as it progresses from the first and second, to the third and the fourth. It develops lyrically as well and becomes some kind of acid electronic bastard child of industrial music. When the synthesizer revs up to show its true acid colors – one is intrigued by it since it adds a whole different characteristic to the song itself – alongside the vocals that are unenthusiastically chanted and feel like they’re just being dragged along for the ride.

It is probably one of the songs up until now that have the best vocals in them. It adds so much more to the experience of listening to the song as well as the development of the soundscape as it accompanies the different influences and rhythms perfectly together. Though it might be added that the song in itself is impressive in many ways, it fails to attract any further emotions when listening to it, as it is only brought out when everything is brought together in an almost cataclysmic fashion.

Returning to the pure electronic body music with the fifth song “Negative Space” – an ominously sounding piece. A continously pounding rhythm attached to a gloomy atmosphere, feeling more like an intermission then anything else. One can’t help but feel left to the metaphorical clock ticking in the form of outdrawn synth-stabs. Somehow the electronic body music elements are of not the same importance as the more atmospheric aspects of this song. The continuity is what defines it all. It just keeps going.

Maybe this might be the dividing line that will shift the musical focus to something else or it may just be a filler for the filler’s sake. Usually, artists and bands have one of these kinds of tracks in their repertoir, in the case of Multiple Man – this song stands out from their others and in a positive manner as well. Reminding oneself about the shifting character of their sound and what they might be able to accomplish, and want to accomplish with their music.

Hotter Then Hell” is the sixth song on this neverending ride of different, excitingly fresh electronic body music with industrial vibes. This song is probably the most sublime of the bunch so far, it has got a really ambiguous vibe to it. One negative thing about it is that it is also the most boring song in terms of the soundscape, as there’s not much happening and it is not as upbeat as the other tracks. Nothing wrong with a downbeat track but this one doesn’t really cut it for me.

Ideal Self” is where it is at. It’s been tried with the other songs but it has got a funkier vibe then the other ones. The atmosphere is really wicked and the rhythm goes up and down like a jojo, embracing the more danceable elements and turning it around for them now later on in this release. It is really all about combining the more unusual genres and turning it into the new face of the Multiple Man that makes it or breaks it in terms of this song. Groovy is what characterize this musical experience the best.

Interestingly enough, as the song fades out and turns into “New Metal” – they’ve decided to put this title-track last on the record. Really a perfect summarization of what they have achieved during this eight-track long release. Even though it lacks everything that made the first few songs great it combines everything one’s heard so far into a mixture of the weirdness and the high energy electronic body music into an acid and industrial rollercoaster which holds up in the end.

I say that only because the rhythms are on point and this song is basically what you should’ve listened to first if you wanted a summary. My thoughts about this full-length debut-LP on DKA Records is that it brings something odd to the table and spins things around completely out of your own safe-zone. You must have taken a liking for electronic body music transgressing into all kinds of different music genres, plus the experimental edge in which Multiple Man hold their territory firm. Although some of the songs are a disappointment, not all of them need to be as good as “Power Fantasy” to hold up in the end. The more you listen to it, the more you enjoy the self-willed nature of this duo.

Tomorrow this article will be updated with a track-by-track review of Strategies Against The Body Volume 2. You can stream Multiple Man’s release “New Metal” down below and make up your own mind about it, but from what I’ve heard throughout the songs – they’ve surely got potential that enrich the DKA Records discography further.

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A follow-up to the 2015 compilation “Strategies Against The Body – Volume 1” have been released via DKA Records. Featuring a whole different roster of artists, containing various electronic genres, all derived from the so-called underground. Some of them more established then others. The cover for the release is very aesthetically unpleasant to lay one’s eyes on but is a reflection of what you can anticipate when listening through this compilation of artists.

Pyramid Club is the first artist and one must say that they’ve got a whole lot better songs then this one. It’s a freakishly monotonous song that doesn’t really cut it. One doesn’t really feel anything when listening to their song “It’s All Grey” – the atmosphere that is there is off-putting and doesn’t do them justice in terms of their discography, otherwise. What saves this song is the latter part of it beyond three minutes in, when the vocals go into a howling frenzy and the basedrum lunge at you as if it had gone berserk.

I really want to like this song but can’t really fathom it. Melodically it is odious and it doesn’t even give the tag ‘experimental‘ body music any revitalization. Repetetiveness and experimentalism can give you a whole other insight into what electronic music ultimately could be about – but here they just fall flat with their brand of it. Very unfortunate for anyone who’s fond of Pyramid Club’s current discography of demo-tracks with lots of potential.

Now on to Passing, who’s song “Sacrifice” starts off rather intriguingly with that bass-filled melodious atmosphere which bounce around in infinity together with acid influences as rambunctious electronica pushed to its limits. Then, suddenly, the vocals are introduced into the mix and one is instantly taken out of the mesmerizing sound – because they lack the punch and the guts which the rest of the soundscape perfectly molds into – overtime. It adds absolutely nothing that progresses the atmosphere even remotely. It would even be better if it was wholly instrumental instead, unfortunately.

All-in-all, the song itself has one hooked to the beats, rhythm and melodious extravagance. There’s a sense of emergency in the overall expression it gives, the fast-paced lunging, acidic body music with electronic overtones – masterfully executed, instrumentally at least. It’s got the perfect length as well and you can never get enough of the simple melodies that together make something out of nothing, adding complexity together with the percussion.

What never tires me is the special kind of desperate brand of electronic body music that Celldöd creates. He can make something out of nothing, it sounds huge no matter what he attaches himself to and the atmospheric feel of “Hemliga Rum” is made alarmingly brutal with his vocals alone. A hiss here and a hiss there, a steady acid rhythm with a baseline that seems to get harder the further into the song you get – the echoes of the vocals, making one uneasy listening to the song – all that is there, in the vast nothingness that he portrays – follow him into the secret room.

Imagining that it would be some kind of abandoned house or industrial setting, together with the lyrics in Swedish repeatedly saying “Take me with you, I want to see what you see, into secret rooms“, as if he is desperately clinging on to something – the deliverance is absolutely on point and adds much as the snaredrum hit is industrially enhanced by sounding like he’s hitting on a metal object – which in reality, maybe he is. It adds that extra portion of the atmosphere which would otherwise be lacking. In the end a very good song which leaves nothing to imagine, audiovisually he puts images in ones head.

Continuing in basically the same manner as the other songs, a kind of acid-inspired baseline together with melodic noises, Spatial Relation‘s song “Infinitely Wary” is now playing. I don’t really know what to say about Lissette Schoenly’s vocals – but it fits very well into the atmosphere created by the synthesizers and percussive elements – though it really does nothing for me while listening to it. I feel no emotions, it just feels like one has to get through it to get on with listening to the rest of the compilation. This brand of electronica hasn’t really gotten me interested, which is a shame, since they repeat what Pyramid Club did with their introductory song to this whole compilation.

When one has listened through the song a few more times, one finds it to be somewhat alluring – though it can’t be explained, really. There’s something avant-garde about the approach to the whole song and how they utilize the different elements of it, how it gradually progresses and how it finishes. There’s a little redemption in the form of the atmosphere as it grabs onto you in a weird way, the electro-vibe and all, which is odd to say the least but hey.

One of my favorite projects since “The Red Dress – Parts I/II“, James Andrew’s own Tifaret, is featured on this compilation as the fifth track in a total of ten. The song “Lara” interesingly enough sounds like “Keep On Driving” (one of his other songs) – the difference is if Andrew Eldritch had a son, James Andrew would be his. Their vocals are really alike and one feels like he’s drawn a little bit too much inspiration in his song-making from The Sisters Of Mercy’s front-man. It is, however, not pastiche – the atmosphere is nice and the beats are on point.

Melodically it must’ve drawn influence from his earlier song but it doesn’t really matter. This is one of the better songs I’ve heard on this compilation up until now. Hopefully this is the one that turns it around and introduces one to some equally as great songs. It should be released simultaneously as this song, as it feels like a variant and lies really close in the whole soundscape and if it weren’t for the different melodies, more emotional vocals, it would almost be identical.

Suddenly, awestricken, in a good way. Anticipation flies into your ears with that subliminal, brooding electronic body music that has a groove like no other – talking of course about the song “Photograph” – which together with samples and a rhythm out of this world is gradually making one reconsider what one’s written about the compilation in general. Now we’re talking about some serious electronic music, whose atmosphere makes one dance along to it and is catchy as no other song – currently on this compilation.

One does not mind the repetetiveness of the beats as it slowly develops over time, introducing small but noticeable changes in character which enhances the whole experience of listening to it. The continually pounding sub-baseline pushes the beats further into the forefront of the mix – and there’s never a dull moment listening to this song. Thankfully, maybe there’s still hope for the compilation in large as we proceed.

SinceGhoul” was released in 2016, Videograve have been out of the loop. Now they’re back, on this compilation. The melodies in their song “Dead Men Floating” are equally as sinister as the title of it. They’ve let the melodies be at the forefront of the atmosphere and the beats plus percussion in the back, giving off a resounding and reverberated no-nonsense sound. Videograve are one of the more interesting acts that have emerged the last few years when it comes to electronic music. They have an authentic and goddamn awesome sound. Electronic body music gone haywire, electronic body music developed from a general minimal electronics waypath – never straying away from originality.

This is my favorite song so far on this compilation. I’m very impressed in general. There’s nothing to complain about, it is a really enjoyable song to listen to and there are so many facets of it that you’ve stopped counting. They really portray a sinister picture – a rather picturesque one if one may say so – audio-visually aesthetically pleasing, if that makes any sense at all.

Now for something a lot different. Collin Gorman Weiland’s song “Indenture and Stone” – monotonous industrial techno, with minimal wave influences. A very bleak song in terms of the atmosphere, very heavy when it comes to the industrial side of it and something that brings forth a whole different sound on this compilation. It is noticeable that the end is near whilst listening to it, the very apathetic vocals and the grinding percussion that seem to have no end to it. Draining energy from every outlet where there’s even sound.

There’s an anti-upbeatness to the song, it is downtempo but tries hard to be upbeat. Looming on as if nothing ever mattered, ending rather beautifully and very unexpectedly – turning into an ambient piece that gives one inner peace while listening to it. A welcoming addition to an otherwise interesting and never-ending seance. Had the latter parts of the song been developed even further, there might’ve been a nice blend of ambient industrial and the harshness of the song itself.

Ninth song on the compilation is by ARIISK and is titled “Candid Machine” – which is one of those songs that never develop into anything. It would’ve been better if it had some progression worth to mention. All this experimental electronic body music is making one’s head spin. There’s nothing about the monotonous approach in rhythm that gives anything, it just feels like a piece that is stuck in the same rhythm and melody without ever ending or transforming into anything good.

There’s a continuous lack in the atmosphere itself that isn’t repaired by the beats nor the progression of the song itself. Not to mention the vocals – it doesn’t add or bring anything out of the atmosphere. Even though this song might be meant to sound dark and provoke some kind of emotion, there isn’t any. It feels like one wants to skip the song and head onto the last one, there’s few moments that attract any noteable attention.

Xander Harris delivers the final song on this compilation, titled “Social Leather“. When pushing play on this song, there’s a wondrous tone coming from the melody. It feels like you’re high above the clouds, or that you’re way out of your body and somewhere else. It has a dreamy touch to it and the vocals expand on that subject. There’s an electro-vibe to it vocally and the atmosphere is absolutely phenomenal. There’s a transgression between different electronic genres that he executes flawlessly.

Being the final song on this release, it makes up for other moments experienced while listening to the compilation. One must say, to DKA Record’s credit, that it is a compilation that has some kind of sense of purpose when it comes to the assortment of different artists – too bad that it doesn’t go the whole way in terms of how good that, in theory, should be. I must recommend it any way, because there are certain moments on this release that are enticing. Stream the full release down below on Soundcloud.

Lyssna: Colouroid / Baula

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

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

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

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

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

Exclusive Premiere: Fragrance. – Dust & Disorders EP

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

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

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

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

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

Review: Various Artists – Tag Und Nacht II

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

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

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

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

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

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

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

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

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

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