Premiere: VARSOVIE – Détruire Carthage

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Propaganda straight from Warsaw, with their telecommunications-station based out of France. Building on a concept that draws influences from concrete post-punk and stable new-wave, among other genres. The reason why they’re in any way related to Warsaw is because their band-name is VARSOVIE—the french word for “Warsaw“—capital of Poland. A debut-EP came out in 2006 titled “Neuf Milimètres” (Nine Millimeters), recorded in Grenoble 13eme Etage Studio and Chaosmic Studios. Here’s also where their aesthetic concept got set in motion by the photographer Lucas Rimbaud, which portrayed a woman lying on her back with her feet in the air—maybe relating to the title of the record—Nine millimeters bullet-type, and a gun. Their sound was virtually the same as it is now but a bit more unpolished and maybe also darker. It was also a whole other set-up when it comes to the band’s compound, different members and now there’s a whole other prerequisite for the band.

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They managed to self-release this EP which came out as a CD. Two years passed and there weren’t any new album or proper release during that time—not until September of 2008. A promo-CDr titled “Etat Civil” was released featuring an album with eleven tracks, featuring Nicolas St Morand (Hreidmarr) on backing vocals for “Etat D’Urgence” (State Of Emergency), outro music by the famous late composer Franz Schubert, for the closing song “Inertie” (Inertia). Everything was recorded at Drudenhaus Studio, located in Issé, France, the home of studio engineer Benoît Roux (Anorexia Nervosa). Now the aesthetics have suddenly changed, there’s a woman standing on train-tracks holding two bags—it almost feels like she’s moving away from somewhere, to anywhere. They used a different photographer, Manon Weiser, who’s also helped with his skills for the Velvet Condom box-set “Vanity And Revolt“. A year later a proper release of the same album came out, in December of 2009.

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Six years later their latest album “L’Heure Et La Trajectoire“, was also self-released by the band. Then something happened. A Black-Metal(!) label from France called Those Opposed Records began releasing both “Etat Civil” and their newest album “L’Heure Et La Trajectoire“, in limited editions on black vinyl and colored vinyl. It’s interesting how such a label would ever take interest in VARSOVIE, whilst mainly focusing within black metal. Good for the band. So here we are, they’ve just announced the release of their latest album and everything’s dandy. Well, everything actually is pretty dandy. Repartiseraren have gotten the opportunity to premiere “Détruire Carthage” (Destroy Carthage), a track we’re particularly fond of from the new album. It’s got a rather short running time of around roughly three minutes, but all the ingredients of this fierce post-punk band—all of the energy, the ambitious and dark conditions for a nicely crafted post-punk sound—for you as a listener to stream from here. Enjoy it as much as you can!

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Listen: Morthouse – Morthouse

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Oh how Montreal fosters our youth. With music not only from there, but also from the stronghold Toronto – which have given us much prosperous acts – that in turn don’t have to look far and wide to find accomplices. From this city comes a duo whom share the same surname, which makes you wonder if they’re indeed brothers. Thomas L’Allier and Philippe L’Allier are the main characters behind this trio, which gets their drumming lent by Samuel Gemme. He’s the one whom gives them their nice rhythm, although the riffing and the general mood of their tracks suggest a wider conspiracy – where everything needs to be fitted right to create their rather unique sound. Not that anyone else haven’t done it before, but I like the nicely done rhythms that coincide with their wonderfully spooky and melancholic theme that seems to be a re-occuring concept.

Almost a month ago or less, they released their first album which is the self-titled “Morthouse“-release. It’s among the better crossovers between mainly post-punk, alternative rock and goth rock that I’ve heard. Thrown in is the urgent vibe that no-wave creates with its messy undertones that are concocted well together with melodies – which makes this influence far too melodic to have the amelodic overtone that only no-wave can contribute with. Not to mention how they use different instruments in perfect harmony, bringing a dark cabaret touch to their otherwise completely magnificent self-image. Now they’ve also got the cockiness that is needed to really bring forth the funkiness and jazzyness that can be heard between the lines dropped by the brothers. I’m feeling like I’ve been invited to a cabaret and that I can see them behind the scenes. The music is unraveled and I’m instantly intriguied by it as they casually bring forth their more instigated selves. A must-listen for everyone of you at home longing for a proper crossover release and not a kitsch re-interpretation. Listen to the whole album down below.

Listen: Caesar Circles – E n c r y p t i c

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Cryptic aesthetics are what the Italian post-punk group Caesar Circles want to showcase. For some reason I think about Dan Brown and his book “Da Vinci Code” when I see the illustrious artwork representing their first release “E n c r y p t i c“. An upside to what they’ve done with their four-tracked release is that they’re singing in English, because I personally can’t stand post-punk from Southern Europe whom choose to vocalize their songs through their native language. What I can endure is post-punk in the Icelandic, Swedish, or English language. There’s really something unique about the Anglo-saxon influence and feature that make it worthwhile. When it comes to their post-punk, musically they have a touch of that melancholic sound that combines alternative rock, post-punk, new-wave and psychedelic influences.

The up-tempo and melodic content that gets through the cracks thanks to an overt new-wave touch make it all the merrier to enjoy. It is really enjoyable that they’ve chosen to route it through a hint of psychedelia just to give it a bit more of a unique sound. Though I am really not a fan of the post-punk that is underlying, when the sound is bridged to the chorus and back again. But I must admit that Caesar Circles make the best of it but I think the general carelessness in the singer’s voice is hard to bear. Because they unfortunately drift too far away from the originality they deliver with post-punk, when they grasp new-wave too much and almost delve into indie-pop territory. Other then that, I really enjoy the darker touches that gets applied to the sound-scape whenever post-punk seeps through the cracks and when you hear a psychedelic riff tearing through and bringing forth another part of a song.

You should listen to it because it is a worthwhile release, as it’s mostly intriguing to listen to. It features the four tracks “Control“, “Wall of secrets“, “Rough Trade” and “I/O“. Personally, I find “Control” to be the best song on the album. Caesar Circles is Simone Cetorelli (song), Andrea Triestino (guitars), Paolo Fraddosio (bass) and Alessandro La Rosa (drums). The album was recorded at VDSS Recording Studio and the artwork was crafted by Alessandro La Rosa. Stream the album in its entirety down below.

Listen: Various Artists – Let’s Peter Out

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För nästan två år sedan så släpptes “The Peter Out Wave“, vilket var det första samlingssläppet signerat Peter Out Records. Henrik Leander, som driver detta skivbolag har även ett vidare engagemang i duon Monument, vars vinylskiva jag recenserade för ett bra tag sedan. Under dessa två år har han blickat framåt och släppt en ny samlingsskiva med några band, artister och grupper som varit i framkant när det gäller det som skulle kunna samlas under paraplybegreppet “post-punk“. Eftersom att hans ambition med dessa samlingar har varit att låta de som varit mest aktuella men inte direkt fått skina få ta plats, så är det en salig blandning av musik från de mest avlägsna delarna borta i USA, till de som ligger oss närmre. Bland annat så får vi bekanta oss med en ny låt av det danska post-punkbandet Metro Cult, som för övrigt fick en plats på det här blogg-zinet också, vid ett tidigare tillfälle. Sedan finns det även mer populära band som legat i framkant på sistone, som solo-projektet Veil Of Light, det svenska bandet Hemgraven, Sally Dige, amerikanerna i The Harrow och åtskilliga band som gått mig förbi likt Moth, Low Sea, Komplikations, Cemetery, Cosmetics och The Flatfield. Dessutom så har även Henrik Leander upplåtit plats ått sitt egna band Monument, som verkar ha lärt sig av historien och levererar en riktigt mörk låt som i all sin glans förs fram av de mörka basslingorna, den vackra kvinnoröst signerad Linda Löfqvist och virveltrumman som sätter en särskild rytm och tempo för musiken. Kombinera detta med den allmänna atmosfären i låten så har du något alla monsterdiggare springer ur sina mörka hålor för att lyssna till.

Även om det för två år sedan var aktuellt med “The Peter Out Wave” där jag fann Svarta Hundar vara det mest njutbara, så har konceptet utvecklats till att mer omfamna de uttryck som kommer post-punken till. För i den första samlingen så återfanns även Agent Side Grinder och andra akter som inte direkt kan kategoriseras som det. Jag tycker att det är bättre med det senare konceptet eftersom att det är vad Henrik Leander gör bäst, han är kanon på att sammanställa det bästa och mest aktuella, utan att hänföra sig till de etablerade. Vilket i många fall är väldigt tråkiga, även om vissa kan ha nyanser i sig som man tycker om. Men det som är bra är att även om det är han som valt artister, grupper och band – samt tillhörande låtar – så påvisar det styrkan med att leta i underjorden lite mer. Man får rent generellt plats med bättre musik, helt enkelt. Det som är fascinerande är även hur han lyckats plocka ut dessa människor från mängden och hur denna samlingsplatta introducerar mig till de jag inte ens visste fanns – och då har jag bättre koll än eljest. Det är allt från den mest minimalistiska och klaustrofobiska post-punk du kan finna, till den mer elektroniskt lagda post-punken, till drömsk shoegaze-aktig sådan och allt emellan. När man tycker att det mesta på samlingsskivan låter bra så har man gjort rätt. Det är inte ofta samlingsskivor blir bra, men det här är sannerligen en med mycket eftertanke och där det prickats helt rätt. Men jag hade inte förväntat mig något annat. I samband med denna samlingsplatta så kan ni även ladda ner låten “Döden i drömmen“, helt gratis. Titta till det här nedanför och lyssna till hela alltet också.

Premiere: Gran – Brain Freeze [Musicvideo]

I know of their existence, thanks to Totally Wired Records. The rhythms are funky, the melodies are thought-out, the impact is profound. Grandiose landscapes of rock music meets the underbelly of alternative and some post-punk, with psychedelic overtones. Lovely vocals, crass guitars and deepened baselines. Yes, I’m talking about Gran. The latest addition to Totally Wired Records, with three songs, three singles. They deserve to be in the limelight, as their slimy aesthetics make you begrudge that you’re not one of them. Continually chasing the spirit that is developed within their sound-scape, always after something. But, you know, you wish we’d dance like them. Their song “Brain Freeze” just got a music-video, which is what I’m talking about right here. But if you want to, you can both stream their singles and watch their music-video. Not at the same time, though. If you’re not some supernatural and abnormal human being that know how to multitask to the extreme. Just let it pour in, let it dissolve and make up your mind. By the way, their singles are available for free download ONLY today on the 19th of August. So get to it, people!

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Review: Plymouth Fury – Vaudeville

coverHard-hitting, able to riff you out of the world, your classic new rock types. Making it a joy to present themselves through sound, is the band Plymouth Fury, featuring the members Worzo, Will and Stephane Kurdijaka. These fellow from France start off with the song “Balone De Noche“, which hits the roof instantly. With its rough and dirty rock textures, calling to the roots of the working class rock’n’roll that have outlived their own hegemony. The intro is simply an astonishing work of craftsmanship, where the drums sheer power and the naive riffing doesn’t let you anticipate what is to come. A shade of grey, lay over a span of colorful and enigmatic warmness. When they rip it off, all hell breaks loose and the classical touch of rock’n’roll ‘riffery’ goes a long way to prove itself vital. Even though it’s mostly a sign of the revival, or a new wave of rock’n’roll, they surely pave the road for even more simpleness within the same genre. No compromises, just straight up and down, rock music. Without the strained touch of modernization, constrained to a gritty – almost noise-rock-esque edge.

When you need more, tuning into the second song “The Basement” – is simply enjoyable. Here, we find a more mellow sound, still furiously generous within the rockin’ department. It becomes fairly obvious, with the name and all, that everything is rooted in a 60’s nostalgia turned on its head. Towards a more sinister and heavy sound, which leave no moments to be dull. Generally, the overtly concealed vocals, beneath a gritty layer of distortion – doesn’t turn you off the slightest. Because the sound-scape packs such a furious punch, that you’d simply ignore most of the lyrical content anyway. Which is a thing in itself, to decrypt with your own ears. This, in turn, puts a lot more focus on the instrumentation – rather than the singer. He might not be at the forefront, but they sure as hell balanced it off well. Cojones is the least he’s missing and the raspyness of the vocals, the sheer energy of him terrorizing your ears, is indeed a fraction that can’t be limited to the instrumentation at large.

Next up is the song “Ajo y Agua“, which seems to be a little bit more timeless. In the sense that the music is like an endless desert. Imagine an hourglass, pouring out sand throughout the top to the bottom. This is what it feels like, if you’d enter a state of forceful timelessness. As the time is against you, they pour down the most wicked baseline that could ever be featured in an intro, at you. Contributing to the overt reality that is about to face you, because you’re in a race against time – whereas one can only be the winner. Therefore, the energy is further energized, the riffs are intensified and the vocalist is completely insane. Insanity has struck, as you need to move fast, when the drummer strikes the last crash. Switching in between two states of minds, one more subliminal and the other one a total eclipse of every rock’n’rollers dirty heart. Tough shit, because this is complete grittiness, combined with the virtuoso that is Plymouth Fury. It signifies the last letter in their name, and it also makes it pretty clear that it can’t get more engaging and fierce.

Tumbling through the weeds, entangled in post-punkish fervor, comes the song “Maelstrom Libido“. The mayhem that has been wrought upon the listening ears, are nothing in comparison to this annihilating piece of strung up, rock’n’roll, flirtation. It will have you dancing with one foot in the post-punk category and the other in the pure rock’n’roll. Even though its crushingly beautiful, there are calmer moments within the song which lead up to the pathway of the totally flipped out sense of what you’d love to hear. Nothing can be more energized than the top of Plymouth Fury’s excellence – as they speed away with your senses, leaving you nothing more than an inspiring tone ringing in your ears. It’s telling that they’re convenient enough to freak out on the riffing, but keep it tempered until its unleashed in its full splendor. The symptomatic relationship between the rhythmic and considered, with the furiously speedy renegade sound. A probable cause for tight drums, distorted baselines and a hell of a temper.

With that said, here’s where everything changes. This seems to be the line between their harder and speedier stuff, as they slow down immensely with the song “I love you Leigh“. Which sounds more like a ballad, oriented with an almost indie rock sounding atmosphere. Filled to the brink with emotions, sincere lyricism, continued with a bombastically backing sound – together with a singer whose voice never ceases to amaze. It doesn’t matter in what situation he uses it in, whether it be furious rock’n’roll, or britpoppy indie rock. Prolonged riffs, conquering the most stale hearts, breaking the wall between different nuances in each genre. For this cannot be seen as anything else than a love song. Whomever this is dedicated to, should be proud over that particular fact. These boys are all about making it as pleasurable and ambitious as possible. It’s not even cheesy, because it hits deep. One probable cause would be the recognizable vein, in which they deliver tenfold. You’re dragged down, put up and then put down. Just to be built up again.

By a sly rock’n’roll rhythm that sets everything on its edge. The song “Tati“, is as short and stout by name, as the song itself. Here, you’ll get more accommodated in the drummer’s sphere, as he is the one delivering in this song. But not alone, of course. It feels as if he’s got the perfect rhythm matched to the perfect sound-scape. The laidback attitude that is flowing throughout the song, is paired up with the near funkiness of the spaced out guitar riffs. Some of it actually reminds you a lot of the earlier ska-punk bands, at times, from Sweden. With almost all attributes of that genre stripped, and laid into an overtly cheery but vague rock’n’roll stew. You can hear the hints of psychedelia also, but you’re not getting chocked with an avalanche of it. Even though it might not be the best they’ve shown of themselves, it’s certainly the standard formula of what they’re about. These pesky genrehoppers can’t just stay in one genre, they just have to mess around. That’s why you love what they’re doing.

Whilst the song “Black Ravines“, is a total embodiment of the stated words, in a vague sense. Here, you’ll get a roaring baseline, accompanying frictionless riffs that simply bounce of the walls and reverberate through the whole sound-scape. Wandering in the desert, concocting a sinful breakdown, with both melody and rhythm escaping each others grasp. But with cojones, and a sip of wonderful bourbon, you’d be able to join them on their journey. It touches the base of sludge, the tip of doom and a heavy dose of slowly-paced rock’n’roll wonderfulness. At heart, it’s a little bit bluesy, which isn’t a bad thing at all. You’re moved by each element of the song, as it builds up to knock things down. The breakdowns in the song are amazing, but they follow the basic portrayal of their sound in other tracks, as it usually does. However, it’s noticeable how much of the characteristics have changed, and how much that is actually static. Sometimes the static is a little bit too much and you grow tired of the sound. But, it’s almost always revitalized in one way or another.

Finally, at the end. This time the song is “The Snake“, which change their modus operandi. Instead of breakdowns here and there, building up, knocking down – it’s a steady trip that engages with all of the elements, just to unleash a battering of hurt, as everything is put in place. It feels like a closing track, and rightfully so, it is. Here’s one of those tracks you’d be singing along with your buddies, in an alcoholic frenzy. Something that should be done live, as the riffs strike with their monotonic wrath, making themselves a little bit more audacious, but at the same time tame. The drums in the end are simply magnificent, and in all fairness, it’s been a pretty good trip. When it comes to the album as a whole, there are some things that keep you from listening to it, but it’s more of a modern thing than anything else. If you look at it from another perspective, this album is surely one that would be steadfast and survive a couple of re-listens. However, I don’t know if it’s got anything above that. I hope so, though. Since it’s thematic and virulent, with an edge that is missing from today’s generic throwback rock’n’roll, Plymouth Fury are certainly heading in the right direction.

Premiere: dead leaf echo – Thought & Language

Never been, but now is. It’s time to premiere a stream for you that just came in, which in turn is dead leaf echo’s debut-LP titled “Thought & Language“. Mixed by John Fryer (4AD/This Mortal Coil/NIN) and mastered by Joe Lamber (School of Seven Bells/Deer Hunter). I must admit, I haven’t been able to pay much attention to this – since I’ve been doing a lot of things lately that have been related to other acts. But since I got this just in time, I had to write something about it. Their debut is somewhere in between new wave, dream pop and shoegaze, with glittery ambiance and joyous shoegazy feelings. Surely, it’ll be the ultimate album to begin spring with, since we haven’t really gotten rid of all the snow yet. There’s a lot of summer in it too, like a seasonal outburst of emotions. Sincere, true to itself, reeking of soft-spoken but subliminal thoughts. Including a colourful palette of differentiated riffs, easy going drums and almost an symbiosis between catchy upbeat and emotional downbeat. Ready to hit it off, but staying with you, since that’s more worth their time. Stream it down below and check out their latest video for the track “Kingmaker“, above.

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