Listen: Corners – Pressure

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I’ve always been interested in the crossover between surf punk, garage and post-punk – but definitely not in that order. Corners is Tracy Bryant, Billy Changer and Rick Mabery from Los Angeles, California. They’ve more or less been around since 2012, when they self-released their first album (and release) “Beyond Way“, which was later on picked up by Lolipop Records and re-released in the same format – namely a cassette, but this time; rather limited. In August last year they released a 7¨ titled “My Baby” which featured the two songs “My Baby” and “Automatic Man“, which were two completely new tracks in their repertoire. Per usual, Lolipop Records released it. Since I didn’t know very much about them until I read more about them, and found them via Bandcamp, they’re actually releasing a new record – which is a split together with Dirt Dress, a band which differs a bit from themselves, but can be counted into the punk-category. They’ve also been around longer. So therefore, I would like to present the track “Pressure” for you, to listen to. There’s both a hollow line between surf punk and its rather energized tempo, and the more callous and dark post-punk, in comparison with the regular garage-rock sounding vocals. Surely, there’s a lot of common ground between the genres, but also uncommon. However, it sounds great and is pretty much what you’d expect with that combination, which makes it worthwhile to listen to. So I urge you to stream the track down below and check Corners out, as well as Dirt Dress.

Review: Női Kabát – Make Room! Make Room!

a1212866862_10Női Kabát have been on the tapestry for a long time, and I am about to disseminate why this might be a classic with longevity, already. Their first release on aufnahme + wiedergabe, titled “Make Room! Make Room!” features two tracks which I’m going to delve into. I’ve listened to both for a long time and haven’t made up my mind if I really wanted to review it. But here it comes, nevertheless.

When you get into it for the first time, the title-track “Make Room! Make Room!” is the first one to loudly come into the picturesque urban sound-scape, with swirling synthesizers and determined drumming. A ravingly good thing is that they manage to set the mood for the track already in the beginning, as the introductory phase of the song isn’t a pain to listen to or get into. Everything seems to be carefully planned out and set in stone, as they move us into it with a groove that could seldom be heard anywhere – or anyhow – in a setting like this, as our modern world seem to have swallowed most of the retro-fantastic vibes they continually deliver in the introduction. Once the characteristics of the song begin to form themselves, they take the shape of a unimaginable synthesizer that sweeps the floor with my emotions. It’s like you’re being swept away by the callousness of the waves that pulsate through your eardrums, as each hit of the synthesizers magical keys seem to be done with ultimate passion. At the same time that it brings dismay to the table, it also brings an angelic touch that is affecting your own logical dissemination. The sound itself re-sounds through layers of drums, that are being assaulted with impudence. These blows that are delivered are perfectly matching the irreversibly tasteful harmonics that let you acknowledge the vibes that are roaring, throughout. When listening to it, you don’t notice the vocals all that much, as you are too enthralled by the environmentally sonic wonderland that is manifesting itself to the highest degree. But that does not take away the importance of Dee Rüsche, whom does an outstanding job at accompanying this perfected toxin that is simply moving outwardly towards you, lunging at you with the painful reminder of total urban decay.

His vocals are filled with passion, as he sinks his virtual teeth into you for a clinging bite that will absolve your cadaverous existence. He is the total reminder of what their quest seem to be, to remind us of what’s actually happening beside us at this moment. Well, it helps to actually know of this so called “mission“, if it actually is one. But one can read their almost apocalyptic turn in the song into this particular subject. It is pretty obvious what the influence might or might not be, but the emotions that this song bring forth in a human being is so remorseless that it isn’t even funny. If anything at all, this song is the pure anthem for Női Kabát. It is their shell, their core – if you will. The further you get into it, the more disgruntled you’d be. As the sonic landscape shift in between hard-hitting drums, fierce and uncontrollable synthesizers, into a more angelic and spiritual voyage that seems to be there to put you to sleep. Not because it is boring, but because every single nerve in your body is hurting. I can’t actually think of anything that is bad about this song, because everything is so perfected – yet so imperfect at the same time. A balance that is hard to actually allow oneself to follow, but I’d imagine that it would’ve taken time. One can actually, for once imagine – that it’s a mold that is not to be re-used once again. They’ve already done their best to shape it into what it’s become, a taste for music, at the same time a taste of reality. A reality I would like to be a part of. There’s no reason to not actually have this song on a list somewhere, maybe even a top-10. What they’ve done here is a reminder of what people should do more often; build up their own room in this world, so make room for Női Kabát.

As if something hasn’t been described enough, we must sadly depart from that wonderful song and make our way to “Industry“, which is the song on the B-side of this 7¨. It feels like it was a good idea to put this song on that side, because it is much harsher and lack a lot of what they delivered with the first song. It sounds like they’ve given up, which is frankly what they’re doing with this song. The metaphysics are colliding with the idea of themselves, which isn’t good at all, because the metaphysics is exactly what makes Női Kabát so great in the first place. But their approach here is more minimal and less bombastic, which takes away a lot from the mixture that could make the track a lot better. Even though it becomes more bombastic in the middle, as the chorus wails into place, it saves the song as such. The rest of it is just a pure mess which most of those that like the more minimalistic touches that they deliver, will froth over and defend to the last man. I actually abhor everything else on the track when I hear the spastic synthesizers coming in and the continual rhythm that is turned on, which makes me check my pulse, as it pulsates to the motion of “Industry“. But in no way can it match the first song on this 7¨, because a lot of their passion seemed to have went into the first song.

Even though some of the passion is returned in the end, it doesn’t make up for some of the wasted seconds that could’ve went into a more passionate landscape of sound. Somehow, it feels like they’ve inverted everything they once held true with the first track, like they’re rebelling against their self. Putting a megalomaniac at the helm, touching us a last time with their quirky synthesizer-laden mattress, telling us to fear not – because they will be back in one shape or another. If you view it as that, much of it makes even more sense. An experimental move to say “sayonara!“, as the ship is sinking into the wreck of humanity – as the oil is spilling over; as we ignite it. Though it has its moments, it doesn’t really recover, but the end is so incredibly alarming that even those of you that have no pulse, must be shaken to your knees. Which is certainly one of the other good parts about this song, but it doesn’t make it into my harbor, at least. I’d rather see the ship sinking with it’s captain, just so he can save the crew and fade away into the blurred ocean – with dignity. However you choose to view this release, it has already become a classic amongst a lot of people. It’s a shame that it hasn’t reached more people, because it has to. Whether you like it as a whole, or simply one song, it is a landmark for the electronic genre as such and music as a whole. Probably one of the best records released this year, even though some of it really doesn’t make it ashore. They’ve made their mark, which should honor them, and more people need to delve into it. Take it, or leave it – because it’s going to be your last chance.

Spotlight: Metro Cult – New Space/Ghost!

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They are few and far in between, but once you find your death-rock – you can’t help but listen to it. It feels like Metro Cult bring something new to the table, at least in form of nuances in their death-rock shaped post-punk, with an entangled web of both dark punk influences and a picky new-wave sound, together with a perfectly laden mat of synthesizer spookiness. These dastardly fellows from Copenhagen match their stark and darkened image with the sound they’re conveying. The band itself consists of Christoffer Bagge (Vocals/Guitar), Johannah Jørgensen (Synth), Klaus Nielsen (Bass) and Johan Schultz (Drums). Their music makes me want to make my way to a batcave, even though they rarely even exist anymore. A couple of days ago they released two tracks, namely “New Space” and “Ghost” – which was recorded at Subversive Studios in Copenhagen, with the help of Lasse Ballade and Peter Peter. It was also released by Adult Crash as a 7¨ vinyl, on the 21st of September. They are limited to 200 copies, so I suggest you go and get one. Either you buy it from Adult Crash, or you contact the band. The cover art was created by Sally Dige Jørgensen. Listen to their two tracks down below, and remember to put in some money for it if you like it. You can also download them for free.

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.

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Interview with Női Kabát!

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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!

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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!

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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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