Premiere: Női Kabát – Make Room! Make Room! [Musicvideo]

The people of Női Kabát have released a music-video in collaboration with ASWESAW (whom produced it), which is an experimental documentary project based out of London. It was directed by Boldizsar CR, DOP by Oskar Proctor, edited by Boldizsar CR, and assisted by Rachel Schoenfeldt. The video itself was filmed six months ago and premiered yesterday. Like the unobservant fool that I am, I evidently missed it. Knowing what their song is all about in the first place, the video makes more sense. Here comes an excerpt from the interview I did with Női Kabát, as Dee Rüsche explains what the song itself is about:

The title comes from the book ‘Make Room! Make Room!’ by Harry Harrison. This was turned into the film Soylent Green. It is generally a story of overpopulation and the decadence in decay that perhaps that would facilitate. I like to think of it as a love song also and a thought that there would still be a way out. These fragile figures ultimately burn in the fire like the human race is heading towards.

It becomes evident that the video is all about the same thing. I find it to be equally as masterful as the video for “Underpass“, by John Foxx. That particular song was influenced a lot by J.G. Ballard and takes up the topic of total urban decay, along with the sentiment of overpopulation. Detachment from humans as such and humanity as a whole. Whilst this is an interesting comparison, one must not forget some of the joyous elements that Női Kabát carry in their song – which is worlds apart from the indifferent and nostalgic nature of “Underpass“. It’s almost as if there’s something enjoyable in humanity’s own doom. But there’s also the indifference that John Foxx carries within his song. So much of it can be compared, even though they’re forty years apart. Maybe it’s because the same topic is even more relevant now then it was back then. It feels like he was a prophet of some sort. Anyway, enough of this and more of Női Kabát. You can watch their music-video up top and actually order from their new batch of “Make Room! Make Room!” 7¨’s, as [aufnahme+wiedergabe] rolls out a second edition, limited to 200 and in black vinyl. Which are available now, over here.


Interview with Női Kabát!


Photograph by: Cserkúti György

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

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Interview with Light House!


Light House is a two-piece group that is hard to categorize music-wise. They stumble upon each other as their intricate music is filled to the brink with cold wave, minimal synth, industrial, dark wave and everything in between. The core members of Light House have always been Chris Relyea and Dawn Sharp, with occasional help from Brooks Blackhawk (Atriarch) and their new addition to the gang – Frank Burkard, whom you’ll know more about if you read this interview. It’s one of those groups that you simply set your eyes on and couldn’t turn away for a moment. When I started listening to their music, I was simply hooked. Since 2011, they’ve released everything from their self-released 7¨ in that year, to their “2012 / WISHBONE” 7¨ which was released in 2012. To their first EP ever, titled “In Their Image EP“, which was first released by Freee Records and later on, in 2013 – re-released by Mannequin Records. Here, in this interview, you’ll get to know a little bit more about their forthcoming album, how they evolved, what Light House means to them, their thoughts about their own music, and much more. Read this or leave it be, but I bet it won’t leave you unshaken.

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Some questions for Image Of Life!


Image Of Life is an interesting person, whom you may or may not know, but that’s irrelevant. According to himself, at least. He heavily indulges in what he calls “nihilist pop”, a sub-genre which he himself has coined. Not much can be said about him, but the overtly misanthropic and nihilistic music that he makes. The first album that appeared was a self-released cassette titled “Last Letters From Leper Colony“, which featured ten songs, all written between the years of 2010-2012. After being featured on Kristopher Reinshagen’s list in “favorite musiks of 2012“, on the ninth place – he delved into further anonymity. Until he surfaced once again, now to be featured on the Chondritic Sound roster, as he released a double-single in 2013, by the name of “Weight Loss In Wartime / Walking In The Dark“. This original minimal synth purveyor is not to be known, but we shall make sure to know him a little bit better. Therefore, I asked him a few questions, ranging from his albums, his person and a little bit of everything you’d ever want to know about nihilism.

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Review: Die Selektion – Gottes Wille

a0485886211_10Die Selektion have been catering to your dark needs for a while, but whilst that is true, they haven’t really rang a bell over here. It seems like they faded away into the peripheral, as we were to busy with everything else. Since their latest release “Gottes Wille” was put out by aufnahme + wiedergabe not too long ago, we thought that we’d check it out. The title-track “Gottes Wille” has a strong and sturdy introductory, where we delve into the caves of weirdly conjugating synthesizers, as the atmospheric content of darkness embraces us. We do not embrace it, since its in the vile nature of it to do the opposite. That’s what it feels like, an opposition to something. Just don’t be happy, because this atmosphere will choke you by the perfectly laden, almost militaristic instrumental, surrounding the fading core of itself. All that can be heard, after the tempo is upping itself gradually, is: “Der Vatican“, and after that, you simply don’t understand anything – unless you speak German and like everything Germanic. The vocals sound utterly hopeless, and it’s re-enforced by the German language, which can be as soothing as it wants, but also hard in moments of need. Simply astonishing, especially how the laden baselines forcefully blend with the sound of distant trumpets. It doesn’t sound like the 2000’s, but rather a nostalgic piece that trumps everything.

Now, the next track, aptly titled “Faust” – willingly deliver an even more ascendant position into a fraction of the dark mind that is Die Selektion. Here, the atmosphere is secondary, but still a great picturesque and outlandish piece that is placed in the middle. The baseline seem to quench some of the thirst delivered by the other instrumentation. Everything seems detrimental, as every single thread of the sound-scape is coping with trying to be as energized and extravagant as possible, whilst the grandiose landscape stand in front of everyone willing to besiege them. Everything from the essential trumpet, down to the miniscule drumbeat is wonderful in all its glory. Frequently pounding you into accepting their volatile mixture of electronic body music, cold wave, industrial and minimal synth. Of course, nothing is complete without a little post-punk thrown in here and there. Even though the track might not be as good as the first one, its hard to actually be any better than that one. They try, but it is clear why this song isn’t the first one. But, its a successful mix, that is attractive for those of you with nostalgia embedded into your body. It’s also a renewable source of energy, which clearly states that this mixture between genres can be a success.

Några frågor till Christer Pettersson!


Sedan förra gången Christer Pettersson fick några väl valda frågor, så har det hänt en hel del. Sveriges i princip enda powerviolence band har inte direkt mognat sedan sist, men de har släppt ytterligare material. Inte för att ett sådant band någonsin behöver växa upp, förbi skyttegravarna, men ibland är det lite väl. Men det är väl precis så det ska vara. Förutom att bandnamnet är på snudd till genialiskt, så kan alla pretentiösa popkulturella experter leta saker som de inte skulle finna på annat håll. Eller jo, det kanske de skulle kunna, men det är rätt absurt att det återfinns här med. Förresten, det här är nog ingenting som hipsters borde läsa, men ni andra kan väl scrolla ner och ta er igenom denna korta frågestund, om ni överhuvudtaget är intresserade. Köp gärna deras vinylskiva om ni gillar detta.

Förra gången var det mycket engelska, nu är det bara svenska. Vad har hänt i Christer Petterssons värld sedan sist?

– Vi har spelat in låtar till en ny sjua som vi jobbar på att få färdigt. Nu börjar den roliga processen med att hitta folk som har mer pengar än oss och är villig att hjälpa till att släppa skiten.

Med tanke på att ni precis har släppt er debut-sjua på Defiant Hearts, så undrar jag; varför just Defiant Hearts?

– Det är samsläpp med Monument som redan har släppt flera skivor ihop med Defiant Heart, bland annat Undergång som är Franks andra band. Det var Monument som fixade hela den biten.

Hur fick ni Rohan Harrisson från Extortion att göra ert omslag och vad är syftet med det?

– Jag har följt hans arbete under flera år och alltid varit ett fan. Älskar mycket av det han gjort till Extortion. Det är ofta rätt speciella bilder med en starkt nihilistisk underton som jag verkligen dras till. Jag behövde bara skicka ett mail, han var på direkt.

Är det bara en nypacketering eller finns där någon ny låt som ni smugit in?

– Det är enbart en nypacketering. Tanken var att släppa det som en sjua redan från början.

Era texter är ju rätt så samhällskritiska, om man säger så. Med tanke på att det är rätt så turbulenta tider, så undrar jag om ni kan berätta vilka inspirationskällor som används till lyrikskapandet?

– Allt från tidningsartiklar till egna upplevelser och andra människors vittnesmål. Väldigt mycket handlar om hierarkier och hantering av makt. Vi lever i ett samhälle som bygger mer och mer på individers ”rätt” att trampa på andra för att själva få ut mer av sina liv, en rättighet som bevakas av ett statligt våldsmonopol. Den gamla socialdemokratiska modellen (pre-åttiotalet) som visserligen baserades på samma kapitalistiska grund inkorporerade åtminstone kollektivistiska element och en idé om att generell empati gagnade samhället. Nu är det bara fokus på jaget. Allt handlar om att ”unna sig” och fokusera på sig själv. Just nu är det människor som mer eller mindre förnekar förekomsten av sociala hierarkier, strukturellt förtryck och institutionell ras. Just nu är det människor som mer eller mindre förnekar förekomsten av sociala hierarkier och strukturellt förtryck som befolkar regeringen, det gör inte direkt situationen bättre.

Märkte att det är medlemmar från Undergång, Headed For Disaster och One Inch Giant som är med i detta band. Detta missade jag förra gången. Ni är med andra ord veteraner?

– Jo, det får man kanske kalla oss. Vi har spelat in skivor och turnérat och så vidare, men det är inte som att våra namn väcker något intresse hos folk. Vi har för få tatueringar tror jag.

Vilka popkulturella referenser står att finna i era låtar, med undantag för det mest uppenbara?

– Det är upp till lyssnaren att hitta, det är hela poängen. Vi står för våra stölder men då måste folk peka ut dem först.

Det finns en större mängd motiveringar till varför man bör köpa sjuan. Men jag vill gärna veta vad ni har för motivering?

– För att inget annat band låter som oss för tillfället. I alla fall inte i Sverige. Vi är dessutom 100% New Era-fria, det om något är ett gott skäl.

Kommer det hända någonting särskilt inom den närmsta framtiden?

– Revolution, skivsläpp, massavrättningar av oliktänkade och kanske en spelning.


Minimalight: Image Of Life – 7¨


Nihilism, it should’ve been combined. Joined together with the dark overtones of minimalism, as we’re at it with full speed. No glitter, no joy and a fist full of apathy. Let the dark melodies, swift jabs of minimal synth and evil vocals of Image Of Life conquer your mind. Los Angeles seems to be a hotbed of these experiments, at least when it comes to synthesizer-based music. As usual, I am not able to keep up with the continuous flow of great music that you’ll have to dig out yourself. Which made me feel embarrassed, since this release has been out for a month by now. Well, it’s titled ““, and is short and stout. If I didn’t know anything about this release, I would’ve thought it was an obscure gem from the minimalistic underground of the 80’s. This is probably one of the best combinations of minimalism and nihilistic tendencies that I’ve come upon. As the atmosphere is suffocating anything lively, except the melodies, the dark overtones approach you slowly – to simply shift their aim and jab you right in the head, with enormous speed and force. Downtempo is not the only thing you’ll find here, but an industrial landscape fused with concrete sound. It certainly makes your mood swing 360 degrees, from happiness to a toned down kind of apathetic state of mind, with depressive thoughts just around the corner. So, when it comes to feelings, he’s able to twist and turn them – shaping them into the thematic consequence of the release itself. The songs are basically entwined within a certain pattern, but the ambiguous nature of it makes it feel like the illusion has been set in place. On one hand, there’s an general feeling of up-tempo, which changes imminently after the first song is heard. Turning head on tail, making it impossibly darkened. As it was said before, this is probably one of the best, if not the best, release that has come out this year in the minimal synth category. If these words need to be revised, this would probably still be in the top-5, contending with its overall landscape of soothingly (but uneasy) nihilistic, tempered and warm – fusion of both bad, good, evil – soaked from head to toe, in quality. The release feature two songs and was released on the 5th of April by Chondritic Sound.

Ny Låt: Knivad – Avfall


Som bekant så har Knivad blivit upptagna i To The Death Records och de kommer att släppa en sjua med samma band, som kommer att betitlas som “Sakta ruttnar vi“. Med tanke på att plattan kommer ut under sommaren, så har de redan släppt en låt med bandet som heter “Avfall“. Lyssna på de råbarkade Göteborgssönerna när de skickar ut en veritabel eldsvåda av den bästa kängpunken på länge. Givetvis höjer de kvalitén ytterligare ett snäpp, men står i samma linje, likt deras demo. Lyssna till denna låt här nedanför.

Exclusive Stream: Borgen vs. Center of the Universe – Volume Knob


What could possibly happen, if two of the greater and more productive independent artists from Norway meet? The answer is not so simple, it would require a lot of categorizing. As they part from skwee, insert a little bit of eletronica and a big part of beats here and there. This joint operation of Borgen and Center of the Universe mixes two distinctive minds, with experimentalism on one hand and the acoustic blend on the other hand. Fit it together within the frame of both electronica itself and a little bit of skwee on the edges – and you’ve got your perfect collaboration! Their 7¨ vinyl will be released on Metronomicon Audio on the 8th of April.

For the fans and everyone interested in their music, I can tell you that Invisible Guy in collaboration with Metronomicon Audio – are going to premiere a track from the coming four-tracked 7¨. It’s the song “Volume Knob” that you now have a possibility to listen to and stream freely here on the blog. Tune in down below, I promise that you will not be disappointed.

Recension: Tyred Eyes – Ghost EP 7¨

1400435755-1Denna gång är det dags för Tyred Eyes, ett band som förut inte givits någon plats här. Nu är det dock dags för att se vad de går för. Detta släpp påbörjas med låten “Pistols At Dawn“, vilket egentligen känns som ett titelspår som heter duga. Där gitarrerna i unison sjunger ut sitt budskap, tillsammans med sångaren Johanna som låter det höras. Någonstans mittemellan ligger låten, inte på det mest aggressiva sättet men inte heller på det mest passiva. Att ligga i ett mellanläge, medan sångfåglarna skrålar i bakgrunden är sannerligen en väg att gå. Det får även den melodiska nerven i detta garagerockiga verk att stå ut ytterligare. Mest så känns det som om det är något som pysslats ihop i en skitig lokal någonstans, där bandet drömmer om höga skyar och inte djupa dalar. Dock så är det inte tillräckligt åt det aggressiva hållet för den hårdhänte, men det räcker gott och väl som ett mellanting. Nog för att låten har sina starka stunder, där man slungas mellan de olika valen och kvalen, med de intressanta lyrikerna som prånglas ut i ett någorlunda tempo. Det känns som att upplägget kommer igen, om man tänker igenom hur strukturerna förändras. Dock har det sina känslomässiga stunder, där man kan känna hur saker och ting känns hopplösa. Hopplösheten varvas sedan med en ljusgnista som får vara ledbandet genom låten. Med stabila trummor, intressanta vändningar och en helt förstummad lyssning – så blir man bekant med så mycket mer än just musiken. Det är något att ta på, visst, men det finns någonting högre som de har strävat efter. Huruvida detta är en del i planen, kan man omöjligen veta, men andan finns där någonstans mellan gliporna. Det är också rätt ofördelaktigt när låten placerar sig emellan olika måttstockar. Men håller de sig där, fast drar sig ut lite och tittar fram ibland, så kan det låtas göras. En mer än okej insats, som lämnar sina tryck i svärtan.

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