Spotlight: Liquid Transmitter, Nikmis, None, Palissade

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Midsummer is upon us. A new line of spotlights are due to appear sometime every week. I’ve picked out some new and interesting releases for you all to enjoy. From post-punk to IDM and everything in between that. Everytime I do this, I see what I can find under different categories on Bandcamp – writing about each release that is featured in the article, summarizing the components and recommending it.

liquidtransmitter

Have you ever dreamt about something ever so vividly exciting, strange or beautiful? Liquid Transmitter’s release “Turn” is turning IDM on its edge, presenting to us a less rhythmic annihilation and more complex atmospheric development. From the introductory “Morning Watch“, to the last one “Uncertain Dusk“, each track is imaginative and explorative. It is as if an artist outlines his visions carefully and break the transgressiveness between genres in an uncanny way. Connecting the dots in every way, both musically and by the titles themselves.

It is finely woven into good electronic music. Slightly drone, more ambient and definently something to be heard. The quirkyness of the melodies add in the personality of this project very well – it’s self-explanatory really when you hear the music. Check it out on Bandcamp and purchase his release there, listen to it in full down below.

nikmis

Now here’s a whole soundtrack for you to enjoy. It is really odd music in a way, but perfectly obstinate and neatly created. Nikmis release “Widdendream” on Third Kind Records go forth in its own manner, holding up the banner of experimental electronica in a way – considering the composition of each track, first and foremost. From the cute little first steps of “The Big Fence On The Other Side“, to the more classically-oriented “Embarrasingly Paralell“, each facet of this album have its own sides of it. I think “Tremendous House” capture an oriental vibe and contribute to a summary of everything in Nikmis music that make it stand out in originality.

So if artists and bands alike want to describe something with their music, or capture a feeling, this picturesque wandering between the oddities in synthesizer-based music and the outrageousness of it – make it very easy to follow the story. Instead of capturing something by writing it in lyrics, he manages to break free from that and with instrumental music capture the essence of storytelling anyway. I suggest you check out the album via Third Kind Records, and listen to it in full down below.

none

Abstract, frightening and cold. With resounding, repetetive vocals and majestic synthwave – Anna of None deliver a great sounding album, titled “Vacuum“. There is a lot of focus on the bombasticism of the drums in the atmosphere of some of the songs, but it does not take away from the fact that the rest of the instrumentation is equally as good, and thought out. There are serene melodies that encapsulate the hopelessness she is portraying, especially in the aptly titled song “No“. Things develop further in terms of the sound itself in “Faces“, which almost becomes theatralic with the continuous haunting baseline.

She really breaks apart from the dry and stale projects that have been popping up everywhere. Wherever you read post-punk, it either consists of a band trying to ape a style they can’t grasp by inspiration of classic post-punk releases, or the one-man project that doesn’t hold up at all – with them being predictable as ever. The song “Nightmare” really touches on the synthwave this project relies on, giving it great effect and with “Flesh” fulfil the epitome of it. I suggest you check it out, it was released by Black Verb Records and I recommend it of all my heart. Listen to it in full down below.

eclats

Canadians have been providing us with some really good synth-pop, but have they pulled off the post-punk? As of now, Palissade can be considered a contender, with their release “Éclats“. This four-tracked release have beautiful aesthetics in terms of artwork and their music does not lack those aesthetics either. There is a certain focus on the vocalist and more bittersweet melodies then one have heard before, it is not that fast-paced to begin with, as one hears in “La Fin“. Their more alternative and highly melodic way of post-punk is attractive. There is not that much emphasis on the baseline alone, but more on the whole togetherness of everything.

The rhythm stabs and the melodies entwine as one hoped they would. As the layers shift in character, the soundscape looms on steadfastly and “La Vie des Autres” combine the first two songs into one, it feels like. Every song is interesting to listen to and each one of them give off a different emotion. It’s a solid release that I recommend and you should check it out. If you’re interested in wayward but challenging post-punk – this is the release for you. Listen to it in full down below.

 

 

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Review: Die Selektion – Deine Stimme Ist Der Ursprung Jeglicher Gewalt

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aufnahme + widergabe have gotten the privilege to release the second album by Die Selektion, late May. Last time they released an album was six years ago, their first self-titled album on Fabrika Records. Much have changed since then and it is a more refined and interesting Die Selektion that can be found with their newest album “Deine Stimme Ist Der Ursprung Jeglicher Gewalt“. The album is roughly thirty-four minutes long.

“Schatten”, the first song off the release, is a really emotional trip. A song which slowly develops and jabs you straight in the heart. There’s so much nostalgia to be had while listening to it, essentially a very good introductory. Here darkwave meet electronic body music and dance music in an odd combination – add to that a trumpet and you’re set. It is interesting how it builds up and then unleashes mayhem upon the listener. Rhythms are on point and you’re caught up with the motions of the baselines, synthesizers and vocals. A certain distraught tone is brought out by the vocalist, making the setting even more postapocalyptic then it could’ve been otherwise.

There is really a perfect groove between the trumpet and the thumping baseline. One discovers complex melodies layered upon one another in perfect synchrony. It hits very deep just before it fades out into nothingness – there’s something really touching about how the atmosphere goes from energetic – to sullen and accepting of its own fate. Personally, there’s not been many songs that hit as deep as this one, the only exception being the repertoir of Keluar. That’s a good point of reference when it comes to how expressive the song really is.

WhenUnter Die Haut” storms in with the alluring electronic body music á la Schwefelgelb – one is immediately hooked. Repeated in this song is the atmospheric notion of the previous song, but with an extended prescence of the trumpet which gives it a huge sound. Sharp baselines tear through whilst the attendance of the synthesizer sounds make for enjoyable rhythms. One thing that is more characteristic of this song is the presence of the vocalist – he tears through like nothing with an attitude perfectly in tune with the bombasticness of the soundscape.

Not much more can be said about the song as such. It translates perfectly into “Dir & Mir“, whose atmosphere is more focused in terms of the percussion. Added into the mix is a guitar that doesn’t leave you hanging with meaningless riffs. Everything is in tune with each individual song and the laid back style in this one captures the attitude perfectly. There’s a discipline, a decadence and a retrospective imagined into sound. An unnatural blend of genres that shouldn’t have been – but became something more then a transgression into awfulness.

“Kalter Atem” almost catches one off-guard in terms of how the intro makes one expect the awfulness of aggro-tech to leap into the mix and ruin everything. Sadly enough, the beats in this song aren’t really much to cheer for. They do nothing more then keep the rhythm steady, although monotonous – it is bad monotony. The atmosphere don’t develop until the song is almost over anyway. It gives the air of being intermission before the continuation of the next half of the album.

Brennende Brücken” is really minimalistic – giving the vocalist more space to shine. Together with the low-key trumpets in this one, it adds a more sincere touch and you feel closer attached to the musicians as such. It is hard to explain, but the immaculate use of sampling and the tearfelt delivery of the vocalist reeks of passion. The further in you get, more experimentalism is added – which makes it feel like something new in electronica. As the melodies are intimately attached but so far away from one another in the atmosphere, it gives off a really nice vibe.

Wow, the intro on “Der Himmel Explodiert (feat. Drangsal)” stir things around even more. The depths of the synthesizers is a nice touch – and then, suddenly, electronic body music in its purest form is added to the mix. There’s a more exotic kind of atmosphere in this song and you really can’t get enough of the trumpets. As Drangsal is introduced, there’s a noticeable shift to the more upbeat and lighter soundscape. It is a nice addition which makes it more distinguishable from the other songs one already have listened to. The outro is what the intro of this song was but it is perfect the way it is.

If rhythm was something lacking earlier, in comparison with melody, “Der Augenblick” adds even more ambitious percussionism – giving it a multi-layered, energetic switch into danceable electronic music. You’re given an acute sense of controlled chaos. Because it is “The Moment” – which would’ve been cheesy had it been in english instead of german. For some moments one is not sure if it is about to go full-on psy-trance or if it won’t go astray at all. This goes to show what they are capable of and that they don’t limit themselves to formulaic songs, because everything is well thought out and dynamic.

Dein Hertz Wiegt Tausend Scherben” feels very retro. The synthesizers in this song add mystery into their music. It is quite a straight-forward song but the melodies are some of the nicest on this record so far. Dreamy, but saturnine to the core. The constant use of the trumpet in almost each song is about what the saxophone is to 80-90’s action movies – though the main difference would be that it never gets tiresome. Max Rieger have really outdone himself and Die Selektion were right to add his instrument into the mix. The casualness of the vocals is also another thing of note in this song – they seem so unforced and authentic. Lyrically speaking it is very good in all its simplicity.

Deine Stimme“, the last song on this album, really says something about where they might be heading next with future releases. There’s a heavier, more experimental tone to the synthesizers and the vocalist concludes the record mysteriously. Reverberated voices and noisy rambunctiousness – a cyberpunk feeling. A clarity, a mission of something even more grandiose. After having listened to this album it feels empty, especially when the last song in the end of it builds up something that might’ve even been a tenth song. aufnahme + wiedergabe really knew what they had assembled when releasing this.

Listen to the release down below in full and if it is alluring to you – buy one or both of the physical releases. Currently available on limited edition CD and vinyl.

 

 

Exclusive Premiere: Seacrypt – The Messenger

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Two years ago, I discovered the experimental synth/darkwave group Seacrypt. This was back when they had just released their album “A Momentary Rift” on Katabatik, on a cassette – with eight totally loveable songs. Said and done, I interviewed them and got to know more about them as a group and in particular; Michael Buchanan. He’s probably most known as one part of Nommo Ogo, a psychedelic noise group that dates back to the 1990’s. But he’s also got a project called Identity Theft, a solo-project of his where he’s already released a compilation, and two mini-albums. Even though he’s not the sole member of Seacrypt, he does a lot within that group. The other members do a lot too, and it also consists of Chelsea Friedmans‘ and Paul Sutfins‘ wonderful voices and synth-work. When they released the debut-album back in 2012, not much was heard from them until they appeared on a compilation by Sweating Tapes called “A Compilation. Volume 2: The Bay Area“, with the track “Paper Horses“. Since then, they’ve worked on a full-length album, which was just released by the Makina GirGir-run label Falco Invernale Records (F.I.R.), titled “Seekers“. What struck me as odd was how their style of music was still there, but with the added character of pure synth-pop to their otherwise experimental sound. A more well-rounded and warm release, even though the first release is worth its weight in gold.

Since I’ve always been interested in them in one way or another, I decided to get a piece of the cake. That meant acquiring the wonderfully rhythmic track “The Messenger“, a track that opens up a whole other world of the genres that Seacrypt operate within. An almost erratic cold-wave sound is coupled with a gloomy atmosphere, a mystic kind of atmosphere. Featuring the wonderful voice of who could either be Paul Sutfins or Michael Buchanan, though it would be embarrassing for me to take a wild guess. The album itself is a really good album that shows the versatility of their group. How they have adapted and made a whole new sound out of the hardware they’re using. The difference is notable, but it is also interesting how they draw out the best from their sound and form another layer upon it. Well, now you can stream their track “The Meseenger“, a song taken from the B-side of their release, exclusively on Repartiseraren. Indulge yourself in what you’ve been missing all these years, because Seacrypt is symptomatic of what greatness you can achieve just if you step outside of your own box. Stream and listen to the track exclusively down below.

Exclusive Interview with REDREDRED!

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Michael Wood. The name might not enlighten you that much, but he’s the man behind the solo-project REDREDRED that garnered a lot of success through the label Function Operate. A widely appreciated artist that has been a rising star since they decided to completely disappear. After that event, he got on the roster of Dark Entries Records, whom is currently in the process of mastering – and then re-releasing his first release – on vinyl. Featuring it with tracks not heard before that he had in his repertoire, making his first move from “Pattern Completion” on cassette, to vinyl. Michael has since his rise towards the stars been interesting to me, with the warmth of his analogue electronics, his electronic body music approach and new beat-outfit blended together with general electronica – would make anyone whom like these genres, respect his ingenuity. I’ve interviewed him via mail, asking him about his first release, the deal with Function Operate, his future release, philosophy, individual tracks and much more. As I was going to post this interview, Michael said he would create a track for this occasion. So I waited until it was complete, and it was overwhelming to realize that he made that track just for this. Listen to it yourselves, the track is named “Dialog” and does in many ways represent the time which he spent being interviewed by me. Enjoy this.

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Spotlight: Abyss Zero – Stay EP

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A veteran just appeared out of the blue. Apparently, the voice of Abyss Zero is none other than the man behind projects like Seppuku Syndrome and Metalny Kolaps. Solo-projects that we didn’t have a clue even existed, but he’s been making music since the beginning of 2009 – at least. Electronic music in different shapes and forms. With Seppuku Syndrome, he made experimental industrial with dark ambient overtones, and with Metalny Kolaps he went in the same direction – but without the experimentalism. Now he’s re-imagined himself under the guise of Abyss Zero. Making a turn into some weird combination of darkwave, electro and grave-wave – with different influences – ranging from industrial to new-breed electronica. His second release is “Stay EP“, a four-tracked diversion from the darkness into wonderland. But there’s something utterly darkening lurking in the atmosphere, as you’d take it lightly when going into the first seconds of the track, but then it changes into a weird rhythm with the complete opposite. It’s something with the sound-scape of his tracks that make them stand out from the rest of the electronica out there. The melodic content is mixed with an ambivalent atmosphere that is ever-changing, probably something that was caught onto by his dark ambient roots.

The tracks themselves were recorded from January this year to March. Everything on this release was mastered by Abyss Zero himself. The design of the artwork for the EP was thought out by him, but executed by Axel Rouvin. This rather weird compound of genres get stitched upon a totally unmelodious, but at the same time melodic, landscape of sound. It is filled to the brink with contradictions and there are certain distinctions in the tracks at hand that are rather indistinguishable, but can be kept up with whilst trying to process the rest of the sound as such. A wonderful paradox that simply never stops. An hourglass that is running out of time and sand, at the hand of a rather ingenious Croatian. You can stream the whole release down below and generously enough, you can download the release free of charge.

Exclusive Premiere: Distel – Japanese Eyes

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Just when you thought it would’ve ended, it just started. You might’ve anticipated this, but for a later release, not up on Invisible Guy at all. They take it to a whole other level with their grainy angst-pop, filling it to the brink with menacingly sublime chants, rumbling baselines and shockingly heavy drums. That’s how it goes when the unorthodox mixture of minimalism, noise and dark wave gets taken to a whole other level. Welcome to the world of urban Tokyo meets the feudal Japan. Knitting together both in one atmosphere, making it even more fascinating as you try to decipher what it’s all about. You get the interpretative prerogative, lent to you all so easily by Distel. Yes, it was them whom you’ve all waited for so long. Since their release; “Puur“, on Enfant Terrible last year, you couldn’t hold it together and simply wanted some more. At least a sign of life, a sign of a new release on the horizon. That’s what you all got, but you didn’t get to hear anything.

It was only one label who could proceed to take the task of releasing their tracks after their presence on Enfant, and who could it be if not: Beläten. As this cassette is the third of the three cassettes that are being released in the near future, this atmospheric and sublime entrance into a new world of Distel, is pleasantly arriving so you can enjoy them when they’ve taken off their masks. Their stature in the catalog is of the runic inscription, and rune itself, Peorð (). It denotes the sound “p” in the Elder Futhark runic alphabet, and goes by the aforementioned name in the Anglo-Saxon rune poem. It does, however, not appear in the Younger Futhark. The meaning of this word in Germanic could be referring to: “pear-tree”, in the context of “recreation and amusement”. Well, I’m here to tell you, it might be amusing and interesting to get something new out of this duo, but it sure as hell doesn’t display anything amusing. No, its cloudy, sublime and horrifying. But its mystique is what makes you wander into their world all to much, just to have the trap-door shut right behind you. It’s enigmatic and sullen.

But enough of the talking, let’s get to business. Invisible Guy is proud to give you the track “Japanese Eyes” from the forthcoming release “Ultra2012“, that is being put out there for the world by Beläten on the 31st of January. This is probably one of the most anticipated releases, since you folks got a hold of the news that it’s actually coming out. One thing must be told, and that is that five of the tracks are interpretations on Mekanik Komando, and only one is an original track by them. This is because they wanted to pay homage to the Ultra movement of the late 70’s and 80’s, all this was encompassed by the first of four Ultra2012 events that were held in Dutch cities in 2012. If you know this background-story, it would be good to check out “Japanese Eyes” by Mekanik Komando, an electropunky and funky trip that was unleashed with the “It Would Be Quiet In The Woods If Only A Few Birds Sing” album, from 1981. But you now get the opportunity to stream and listen to the interpretation that Distel made of the track “Japanese Eyes“, as you can stream it exclusively from Invisible Guy and we hope that it will make your day a little bit better, or worse. Well, get on to it, and read more about the background of it down below!

Label: Beläten

Cat#: Peorð

Artist: Distel

Exclusive Song: Japanese Eyes

Title: Ultra2012

Format: C24

January-2014

After last years’ magnificent Puur LP on Enfant Terrible, Distel return with a cassette featuring five interpretations of Mekanik Kommando and one original composition, all made for the first of four Ultra2012 events held across four Dutch cities in 2012.

Performers were asked to in some way pay homage to the original Ultra movement of the late 70’s and early 80’s, and Distel choose to do so by covering five songs from Mekanik Kommando’s debut LP »It Would Be Quiet In The Woods If Only A Few Birds Sing« from 1981. The closing original Onde was used as a sort of theme song for their performance at the event in Nijmegen.

In the hands of Distel these songs are transformed from jittery white-boy punk-funk into menacing, pulsating krankheitspopmusik Robotic voices call from deep beneath the layers of thundering bass. Euphoric rave arpeggios pierce through the din of squealing analog synthesizers and urges the listener to dance, or at the very least move in unison.

Through the Japanese Eyes of the mysterious figure behind Beläten

Listen: TAOLWGO – LIST

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The band with one of the longer bandnames, namely The Amount Of Light We Give Off from Germany, have recently released their first EP. We featured them earlier with free downloads of their tracks from their demo, but now they’ve completed a fully-fledged release. Their demo was more rough and raw, as it is suitable for what a demo can and will be, but this release is where I thought they would be heading. Even though the roughness is still there, they’ve sharpened it even more. A darkened approach, filled to the brink with influences of dark wave, which wasn’t really the case when you listened to the demo. It was more electronically post-punkish. I would like to say that they’re the darker cousin of The Foreign Resort, with an overtone of the more classical dark wave which has been sorely missed out by virtually everyone. They really got the same outlook on things and keep the energy flowing. I’m in love with this duo, because they’ve got some unique things going for them. No more overtly melodious crap, no more cackling generic garbage – it’s more food for thought and afterthought. Probably one of the best things coming out of Germany right now. We feel like they’ve outdone themselves. This is really the way they should’ve headed towards, and they’ve really done that. So stream away down below and listen to this. Do also support them by buying it digitally.