In some genres there is a certain kind of experimentation allowed. When it comes to minimal synth, there seems to be an invisible box in which people that make this kind of music seldom go outside. Michael Buchanan of Seacrypt have a long-going project which goes by the name of Identity Theft. It’s a solo-project experimenting with minimal synth and synth-pop. He’s been making his music under this moniker since the first release “Night Workers” back in 2011. Then he was known as Djynnx Ogo and the aforementioned release is a testament to this, featuring material from 2008-2011 packed into a compilation. With little help of Duncan Gerow, Paul Sutfin and Chelsea Crypt, for both synthesizer work and vocals, on tracks like “Cryptoterrestrials“, “Small Knife” and “Our Game“. It took him one year to release his first proper album, titled “Security Theatre” – featuring material recorded in between 2011 and 2012. This was his first release since his new nickname had been formed. Entering a world of surveillance, loss of privacy and other current important issues related to this. Some months later his first mini-album emerged, titled “Black Opsis“. Originating from a label called Cognito Percepti. The difference with this mini-album was the original intention of making it a live-session, composed in 2011, whose tracks later became the album “Security Theatre“. Next, a true live-album came to be through the Record Label Records event “Memoirs of an Invisible Woman” recorded live in 2013.
Recently, the second proper album was released. It was titled “The Future Hates The Past” – featuring material recorded between 2013 and 2014. Repartiseraren was lucky to catch an exclusive premiere of the track “Targeted Individuals“, before the album itself was properly released digitally. Every release that I’ve counted here have been released on Michael Buchanan’s own label Katabatik. I believe that this song especially, show the experimental nature of what he’s trying to confront with this album. It’s probably the most experimental of the albums he’s released, which is perfectly noticeable with this track. A blend of paranoid minimal synth with original analog synth-pop makes the most skeptic electronica-lover a convinced believer. You can exclusively stream the track “Targeted Individuals” down below, alongside the full album that was released by him recently.
It’s a nice day for a nip of post-punk. Canada have been boasting with their simmering environment of talents that have been emerging from nothing. One of those seem to be Passion Slaves, which I frankly know nothing about and whose imagery suggest minimalism – to such a degree that I might not even agree. But my weakness for the classic approach to post-punk seem to have tainted me this time around. The only thing which bothers me is the vocal part, but that’s a miniscule objection to their sound as such. They’ve actually recorded their first demo, so that objection might be weak to begin with. One thing I like about the vocalist is her energy when she sings, but there seems to be a show-stopper in their unharnessed energy – because at times it feels like they don’t master it yet. With that in mind, the two demo-tracks “Mortal Coils” and “Shadow Grounds” have an interesting goth rock and post-punk sound. The gloomy melodies resound in my own mind and their boasting sound as a whole give me an impression of them as serious musicians. It feels good to observe that they haven’t submitted themselves to every cliche possible when handling such an environment of genres. The fast riffing, great drumming and overall performance of this group makes me want to hear more of them. It seems like they’ve given much thought to these two songs so I wouldn’t really be hopeful for more in the near future, but who knows. I feel like there’s a mystery within their imagery and the visuals that are put into my head when listening to them. I just hope that the one ingredient, e.g. the vocalist and the lyrics, don’t steep too far down into the unlisteneable fold. Stream their whole release down below and give them some money if you like it.
The crass musique concréte is the way to go. Hollowfonts delve into a largely unattainable atmosphere through field recordings, noise, drone and musique concréte as the main components of this landscape of metamorphosing sound. With the man Michael J. O’Neal behind the steering wheel, this experimentation in sound is way above the expectations. His recorded material from 2013-2014 have been assembled into a limited cassette titled “XLVIII” – making this his debut-album on Phinery; a record-label based out of Denmark. It delves into a certain kind of industrial landscape, maybe a post-industrial one. Showcasing each component within the sound-scape, utilizing the scrapped metal writhing into an ambient, almost hallucinatory landscape. The brute intentions swirl into themselves creating a magnificent landscape which is probably out of bound for any human. A spaced-out drone is compiled between the desecrated landscape, an equivalent to a Mars-landing for the first time. Houston has no problem with indulging himself into this suspense-ridden atmosphere. Within the blink of an eye everything can be changed into something more sinister. It’s like going against a sandstorm of mighty sounds that just think nothing of you, as nature has its way. It is also going out of its own way to be fatiguing to the mind and body. I feel a certain kind of strain on my ears when I listen to it, a draining feeling – but I must keep going. The album itself can be bought from Phinery, the cassette is limited to fifty copies and you can listen to the album in full, down below.
A name like Tomás Nochteff might not ring any bells, but if you consider the fact that he’s involved with Mueran Humanos, you might know of him as a part of that artistic duo. He’s an Argentinian musician that in 1992 started the group Dios – together with Javier Aldana and Pedro Amodio – a group which in itself over time became a cult-group in Argentina. When the self-titled album was released in 2001, they broke up, and three years after that, he released a solo-album under his own name, called “Le Beat Juste“. Exactly on the time when he decided to move to Berlin in the 2000s, he found Carmen Burgess and officially founded this duo, Mueran Humanos, in 2006. They’re probably most known for their first self-titled release on Old Europa Café. But, since time passed and they released “Culpable” – a 7¨-release in 2012, as well as the maxi-single “El Circulo/La Langosta” in 2013 – he moved onto what became a continuation of his works under his own name. A solo-project that was continued where it was left off in 2006. Before we get to that however, we must also shed a light on the split-release he did together with the Spanish musician Arnau Sala Saez, titled “Música Para Disciplina” (Music For Disciplina) – intended for an art show called “Disciplina” – featuring the works of Gustavo Eandi at Galería Logo in Sao Paolo, Brazil.
Now, if we’d adjust the clock and set it onto 2014, Tomás Nochteff continues his trip as a solo-musician with the release “Pagan Easter“. Now in April, fittingly enough, Noisekölln Tapes – a label based out of Berlin – decided to put this release out on a limited edition cassette. His guitar-driven industrial music is more than it sounds like, a grandiose outlook into droning guitars and ambulant noise. Fading into a long-going atmosphere of the most substantial sound even to be found within a genre like this. Focusing more with the help of hardware, on the analogue aspect, giving a whole other warmth to the instrumentation. A rather grainy expedition into the heartland of noise and industrial combined, entwined with other influences. With the help of three pedals, strings and channels – the music was created during three days in Easter. Mind you, he once released it on cassette for his friends, limiting it to only nine tapes. So Noisekölln Tapes are re-releasing this music onto an edition of thirty-three cassettes, symbolically enough one would think. Stream the whole release down below and buy a tape if you’re interested.
Invisible Guy no longer exists. It was a time of joy and careless fun. Since I started this blog-zine back in early 2011, I had no idea that it was going to get even near as big as it is now. My ambition was to drive this blog-zine as a hobby-project of my own, just so I could spend some of the vacant time that I had back then. What was a hobby began when I interviewed different local bands in Sweden, from Norrland to Skåne, Stockholm to Blekinge and everywhere I could find any interest. Later on, in 2012, it evolved into the podcast that I had in regards to me covering a lot of the punk and hardcore-scene, since I was interested in it and D.I.Y. The birth of Swedish Punk and Hardcore came with my ambition to start this podcast of my own, which aired for five episodes before I trashed the idea completely. I really had no time to be mailing to people, getting them to participate, since a lot of the time went to administrate what I could find and try to get people to get back to me. That’s really not a fun thing to do, especially not when you need to fill a podcast which could be everywhere from an hour to eight hours long. I wanted it to be impressive, I wanted it to be underground and I wanted to hear their stories – play some music – basically have my own radio-show in some kind of way. Since then, everything has been running smoothly. It’s been getting better and better, so I decided to invest money in artwork which I bought from the wonderfully talented James Licht – the man behind one of the most promising labels – namely Die Song. There’s where Invisible Guy changed into Repartiseraren, bringing a rather small legacy to its grave, but not an insignificant one. It meant a lot to me, and it brings a lot of pain having to let go of it, but I feel like it will always be there in some kind of way. Repartiseraren was just a breath of fresh air, the beginning of something new, an extension of what Invisible Guy once was. I am proud to say that it has gone very well and I am thankful of everyone’s support of this blog-zine. It means more then you could ever imagine.
One of my newly attained friends Magnus Gyllenswärd, whom is most known as Övervarning, mailed me about a week ago or so. I’ve always been fascinated with his music, since I found one of his releases on Bandcamp while sifting through everything. His mail couldn’t have come in a better time or place. Since he notified me about his release being out, but not on a label for the moment, I asked him if I could put out a couple of tracks from it. He agreed with that and here we are – letting his tracks represent the shift from Invisible Guy to Repartiseraren. It was an honor for me to pick out the tracks from his newly produced album, tracks that I found fitting to the general theme of launching this new platform and bringing new light to the old. Therefore I chose the tracks “Avstånd, beskrivning, befogenhet” (Remoteness, description, remit), “Visst påverkas man av sådana händelser” (Surely one is affected by such events) and “Högt ovanför den tomma kyrkan” (High above the empty church). Every title had such an apt description to what happened in between that transition, what the transition actually was, and the music itself felt so refreshing. Like being born again, getting a new chance. These tracks were taken from his latest release “Förberedelser / Åtgärder“, which is currently not on any label, and is exclusively available in the shape of the three songs that I picked myself. Stream and listen to them exclusively, and celebrate the new dawn with Repartiseraren!
Sedan det senaste släppet år 2013, då Chicagojazzen dundrade in på Zeon Light Kassett med släppet “Smittfebern“, så har han arbetat på nytt material. Detta var då hans senaste album och detta kommer inte bli någon fortsättning. Istället börjar han med något nytt hos Blodörn, då det istället för ett album blev en EP. En mini-EP vid namn “Döpt i snö“. Nu vet man inte riktigt om släppet blev mörkare för att det landade på den etiketten, eller om allting började dala ner i en slags virvelvind som precis försvunnit. Även om hans tidigare släpp har varit intressanta på sitt sätt, så är det inte så mycket som har fastnat på hjärnhinnan. Men tack vare första hjälpen rent estetiskt så ompacketeras detta släpp och blir ett med Blodörnen. Estetiken är mer tilltalande, för att den är mörkare. Likväl som de två låtarna som går att förhandslyssna på är dunkla och släpper av sig negativ energi. Mystiken tätnar när låtarna “Andas Damm” och “Västerhiske Blues” presenterar en Chicagojazzen i högform. Koncentratet har aldrig varit skarpare, eftersom att de två låtar som flödar ut i hörlurarna släpper ifrån sig lite av den meditativa ambient som annars varit dominerande. Det här är gräsligt på ett väldigt hemlighetsfullt sätt. Ett töcken av ljusstrimmor som försvinner när man in i gången beger sig. Där avsaknaden av ljus är det som är det inslag som man måste vänja sig vid. Ljudlandskapet rör sig sedan mot en mer bombastisk rörelse, som urartar på så sätt att det experimentella som alltid funnits mellan raderna får sitta på första parkett och sprida sig mellan de dunkla utfallen som greppar tag i en. För den som tidigare inte varit nämnvärt intresserad av hans alster, så är detta släpp något de borde ta till sig och lyssna till. Till och med en som sporadiskt lyssnat till den musik han släppt ifrån sig tidigare, blir tagen av det som levereras – med full orkanstyrka. Detta är Blodörn 6. Musiken spelades in i Umeå nu år 2014. Ni kan lyssna på de två förhandsvisningar som ligger ute av låtarna. Ni kommer inte att bli besvikna.
Bombardemanget fortsätter. Eftersom att vi valt att koncentrera oss på de mörkare strömningarna i underjorden, så gör det sig bra med Fäkalien, eftersom att det är power electronics och dödsindustrial – men också på grund av att den Italienska etiketten ANGST gör ett samsläpp med Scorze Records. Fokus ligger främst på svensk underjord, och eftersom att Fäkalien är ett svenskt solo-projekt som varit igång sedan 2013 åtminstone, så är det passande eftersom att detta samsläpp mellan två etiketter just är detta. Ännu finns det ingenting som är klarställt när det kommer till vad kassetten kommer att heta. Men för den som är intresserad av en historiegenomgång, så kan vi meddela att detta solo-projekt först släppte ifrån sig “Untitled” på ännu en Italiensk etikett, men denna gång hette den Diazepam. Detta var år 2013. Det senaste släppet är antingen spliten med Tjere, 886VG och Toxic Bliss – som också fick namnet “Untitled” – eller så är det en annan split som släpptes i Maj år 2013 som också är obetitlad. Skillnaden var att de som var med på detta släpp var istället Shaun Robert, ✰☻★☺✰ och Amy Weinrausch. Förstnämnda släpptes utav Untitled Productions och det sistnämnda utav Shit Noise Records. Eftersom att vi aldrig tidigare hört talas om detta solo-projekt, så kändes det passande att ta upp det. Nu finns det en låt som är tillgänglig och det meddelas att släppet kommer snart. Så det finns inget fast datum än, men detta blir i så fall det första släppet från Fäkalien detta år. Ni kan vänta er tribalistisk – nästan rituell – power electronics med influenser från både dödsindustrial, men även noise. Alla tre är hyfsat uppenbara. Men jag måste varna er för att det är väldigt hårt och namnet på låten är “Sexual Colonization“. Det blandas med varierande sampling, både från Andra Världskriget, men förmodligen från annat håll också. Håll i hatten när ni lyssnar på detta, för det kommer att bli en ordentlig resa. Mystiken tätnar. Lyssna till låten när nedanför och invänta detta samsläpp á la ANGST och Scorze Records.