Exclusive Premiere: Sektor 304 & DEATHSTENCH – A Plague Of Blind Eyes

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Yearly, a compilation whose name changes as the year change, take a hold between Malignant Records and Kalpamantra. Both labels have been dabbling in the dark ambient underground, housing names that with time have been forces to reckon with. Not only that, but also death-industrial, power electronics, noise and many other genres get the treatment they deserve from these two much revered labels. These series of compilatory releases started back in 2012, when “Malignant Antibodies” – the first compilation to start it off – was released digitally. Thirty-one tracks, including forthcoming gargantuans within these genres, alongside with titans such as STROM.ec, Deutsch Nepal, and Navicon Torture Technologies, just to mention a few. From that day on, a rather celebratory gesture laid the foundation of a tradition which is still intact.

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The second compilation was launched in 2013, titled “The Black Plague“. Which resulted in four more tracks, making it thirty-five. Included in this compilation was Trepaneringsritualen, Thomas Ekelund’s debut on a compilation having anything to do with Malignant and Kalpamantra. If anyone had foresaw what an immense impact he would have a year or two after that, this would be prophetic. Abandoned Asylum, one of the newcomers had gotten his track “Outside The Veil Of Life“, and many groups and artists returned with a bang. What came to be new for this compilation were the amount of collaborations that increased immensely, Phragments & Shock Frontier, Steel Hook Prostheses & The Scapegoat Mechanism, Collapsar & Inner Vision Laboratory. Not to mention how things were duked out, where HHY and Sektor 304 ‘fought’ it out versus one another, creating “Subliminal“. Now it officially could be considered to be a series of releases, they were two.

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Now the time has come for a third endeavour for these magnificent labels. We already know that it will be titled “Endless Descent Into Oblivion“, making it “Malignant III” – a third, probably even more perfected – compilatory adventure through the sewers. Mind you, not ‘sewers’ in any derogatory fashion, just the fact that it probably will outdo the other compilations when it comes to pure disgust, nefariousness, mysticism and total annihilation. Featured in this next compilation are, in alphabetical order: Abandoned Asylum, Aderlating, Ascetic Hedonism, Caul, Collapsar, DEATHSTENCH, False Mirror, Gnawed, Hall Of Mirrors, Hypsiphrone, Inner Vision Laboratory, Isolator, Kave, Linekraft, Nyodene D, Phragments, Phelios, Sektor 304, Sewer Goddess, Skorneg, Somnium, Steel Hook Prostheses, STROM.ec, T.O.M.B., Teeth Engraved, Terra Sancta, The Scapegoat Mechanism, The Vomit Arsonist, Theologian, Trepaneringsritualen, United Front, Xiphoid Dementia and Yen Pox – in other words an even greater compilation. New and old alike, this is probably the largest compilation of its kind, when it comes to these genres.

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So, I’ve gotten the perfect opportunity to exclusively premiere a track from this compilation before release. John from DEATHSTENCH told me about it and gave me the honor to light the torch. This track is one of the collaborative efforts on this release, namely that Sektor 304 and DEATHSTENCH join forces – forming the track “A Plague Of Blind Eyes” – which is as mesmerizingly tribal as it is martial. But hold on, dark ambient still has the authority intact when it comes to this track. You get to exclusively stream “A Plague Of Blind Eyes” on Repartiseraren. The compilation will be released digitally on the 8th of October by Malignant Records and Kalpamantra.

Mixtape: Michael Idehall – Svartkonster

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Michael Idehall is truly a master of the dark arts. With his first mixtape ever for Repartiseraren, he goes into shadowy territory. This mixtape is an introductory to his teachings which he meddles to the listener through an innovative landscape that quickly shifts from a baseless dark ambient, to a sudden flash of industrial – bordering to death-industrial – but not purely associated with one genre. His own visions are deeply ingrained in this mixtape and it will make us mortals tremble. Everyone will have their own opinion, but we’re speaking in tongues as we’re caught in the middle of greatness. Now nobody really knows where they stand and everything will change in the nearest future. You don’t know if it’s a crack in the wall or if the world is being torn apart.

With Svartkonster” the metaphysics of his music is represented as a theme. Depending on who you ask, the theme varies, but it begins with a false sense of security as the wave of darkness begins to catch up with you and quickly rumble into a complete storm. Your senses are clouded as his magical and hypnotizing sounds do their best to seduce you into compliance. I’m proud to be hosting this mixtape and to be working with Michael Idehall on a co-operative level. Even though he is the conjurer, I am the overseer that sees to everything being where it should be. Enter a blackened world that makes the post-apocalypse seem like a fairytale.

A lot of words can be used to describe it, but it is best to just listen to it and make up your own mind – if you’re still in charge afterwards. Illusory, steady as steel and inconstant are words that might not be apt to describe it wholeheartedly, but I feel so empty after I’ve been struck with the perfection that emanates through layers and layers of sonically charged superstition. You can trust me on the fact that it will at least not leave you indifferent, I believe it will leave you with a magnitude of different emotions – each to his own. Listen to it down below.

Spotlight: Weeping Rat – Forced Vision/Fractured Zones!

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Melbourne, Australia. As the sun sets, the Weeping Rat comes out to feast. Having recorded music under this name since 2012, with their first release “Blood & Fog“, a duo consisting of Jacob and Michael – slowly, over time became a whole group. After having released their second release “Empty Hearse/Funeral Train“, it took them about one year and a half to return with a track with the name “Light Of The Moon“, in January of 2014. Since those releases, they’ve slowly moved away from the rock-aspect of death-rock, having more of the atmosphere which can be conceived in such a genre – to their advantage – which in turn created a rather sense of urgency beneath a layer of coldness. This resulted in a double-EP released in the month of April. The first EP to be put up was “Forced Vision” and the second one was “Fractured Zones“. There is a noticeable difference with these two releases, as they stray away from the grittiness of the death-rock sound, paving a way for a death-industrial-esque trip between the living and the dead. Focusing more in “Fractured Zones” on the general landscape of sound being conceived with the experimentalist notion of decayed noise in a dark ambient landscape. Whilst the other EP, “Forced Vision”, focuses more on the rock’n’roll aspect – wishfully entering the same realm – but on different conditions. Which makes these two releases quite different, even though much of what they have in common is rendered, abysmally.

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Though a lot of their sound might have a few things getting used to, it doesn’t sound flawed at all, but rather delivers an intermingling of genres seldom expressed by the artist – into such a sound-scape. Brooding is the total industrial transformation of Weeping Rat. Giving away a uncompromising and outdrawn sound, a secret that is being unveiled when you listen to it, making you feel part of a darker adventure. It doesn’t really make itself that great in text when trying to explain the picturesque landscape of decaying rot that these Australians produce. But it is a milestone in their own discography, making it perfectly clear that even they can change their outfit for better or worse – into something that is so out of touch with their ordinary, by now; memorabilia. Stream both EPs down below and listen to it, so you can discover a whole other side of their sound.

Exclusive Premiere: Alone In The Hollow Garden – SHIVA >|< SHAKTI

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Deriving power from the traditions and religiosity of Hinduism, the deity Shiva is channeled for a seance in martial industrialism. But it’s even more then that. The primordial energy that is Shakti, which essentially means “power” or “empowerment“, makes it clear what the Romanian artist Dan Serbanescu is dealing with, when creating his music. It’s a complete negation of genres, but at the same time a combination of them. Considering the overlaying theme of power electronics, his music is close to martial industrial due to the percussion, but he also have included the topic of dark ambient – with a ritualistic touch. Think of acts such as Trepaneringsritualen, but without the drone shell that makes the outdrawn ritualistic death-industrial obsolete – in a dark ambient environment – this crossover is something else than just that. Include the best you can think of when it comes to Blitzkrieg Baby, the martial-ism, a militaristic atmosphere that would make you crack in no time. Deriving from every other world out there, delving into a range of different dimensions. Dan Serbanescu is mainly known for his alterego Tanz Ohne Musik, having released numerous albums, singles and EPs under that name. It’s also where he’s taken the name “Alone In The Hollow Garden“, from a self-released digital album released under this alter ego. Another interesting anecdote is that his second full-length album is titled “Red Cavity“, which is also the name of the label he has, which is called Red Cavity Records. The outstanding dedication is his pathway.

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Well, it’s a rather interesting moniker, in which he dwells in the catacombs. Alone In The Hollow Garden is more than just what the name suggests, it’s an ethos of which we get to follow the adventurous spirit of Dan himself. I got notified about the project itself just a week ago, and he’s released three full-length albums, as well as a live-album called “Metal Bones Into The Temple Of Youth“. When it comes to the other albums, they follow a clear red line and are titled “A​.​I​.​T​.​H​.​G. I” and “A​.​I​.​T​.​H​.​G. II“. Until recently, just a month ago, he released his latest follow-up which smashed the story he’s brought up with his first two albums. His latest album is titled “L . V . X .” and might be the first album that starts a whole new story. Even though it’s pretty unclear what the story itself is, you clearly notice where he’s taken his influences from. Thankfully, Repartiseraren got an offer that he couldn’t refuse. So he chose a track to premiere from this album, since only previews are up at the moment. The track chosen is “SHIVA >|< SHAKTI“, which I thought represents the album as a whole, and is a long-runner at that. It spans up to eleven minutes and includes the most mind-numbingly great martial industrial percussion, ritual dark ambient, experimental and transient nature. Something not so easily described and best heard. Stream this track exclusively from Repartiseraren and listen to it as you zone out from a day of hard work, or a day of just laying around. Pick yourself up.

Lyssna: Fäkalien – Sexual Colonization

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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.

Exclusive Premiere: Deadwood – Traditorem

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Deadwood. It’s not the popular series depicting the 1800s America, primarily North Dakota. Al Swearengen haven’t started a solo-project. This is the sole project of a fellow Swede named Daniel Jansson, an under-the-radar mixture of black industrial, power electronics and dark ambient. Originally, the project had the name Deadwood Murder and started out as a split between him and Blodulv, a swedish black metal project, in which he’s been involved, originally. This split was titled “The Havoc We Seek“, and was released by Forgotten Wisdom Productions back in 2004. A year after that, the project evolved into Deadwood and he got his first full-length album released on Cold Spring Records titled “8 19“. Now we’re in 2005. Since then, Daniel Jansson have been putting out releases under the name of Deadwood about every third year or so, with the exception of the time-span between 2010 and 2012. After three years the album “Ramblack” was released, which was back in 2008. Two years later he had an off-shoot of the same album but instead on cassette, on Night Bird Records. Then he had a hiatus in between 2010 and 2014. Now in 2014 he came back in February with the album “Sheolic“, an album that was recorded between 2009-2011, roughly during the time when he made an off-shoot to another record-label to release his third album on cassette – other than that – he’s remained loyal to Cold Spring. At least when it comes to full-length albums. So we’re intrigued to be giving you something special.

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He’s constantly been paving the way to yet another downfall, focusing on the downfall of men. This is music for those whom want to endure that downfall. It’s a bleak introduction to our own human self, to what makes humans primitive, and what makes us destructive. This takes Swedish black industrial and such a step further, as the different flavors of industrial converge into a rather satisfactory dark ambient atmosphere. Finishing what he set out to build. The trilogy of “8 19“, “Ramblack” and “Sheolic” are completed – as “Sheolic” was put out. Putting a lid on the ambition to move further. Probably a finishing move with a deathly touch. We’re proud to be bringing you an unheard track, at least if you do not own the CD, from this release – titled “Traditorem“. We hope you’ll enjoy the absolutely devastating, but rather sublime atmosphere and the chain-linked vocals that move forward the rhythm. A rather decaying rhythm that will make you question your own morale. At least so long as you are listening. Stream the whole track down below, exclusively from Invisible Guy. Let’s hope that you can endure. The covert art was done by Laetitia Mantis.

Exclusive Teasers: Steel Hook Prostheses – Rodent Ulcer (CDr)

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Since their amazing epic of 2013; “The Empirics Guild“, Steel Hook Prostheses are coming back, stronger then ever. Symptomatic for their high-quality dark ambient, power electronics and noise. Their forthcoming release will be put out by 412Recordings. The “SHP”-logo and the prosthetic arm underneath it was designed by Cody Drasser, the man who might mainly be recognized for his contributions for the eminent web-zine Heathen Harvest.

The steel hook is clinging back to the harshly laden corrosive atmospheres, as their maniacal devotion reaches its peak. These acolytes of the sullen have made a sacrifice, once again. Offering up their slowly developing enigmatic sound, into both the long and outdrawn peripheral of every emoticon that is a shade less positive, and a tad more negative – yet ultimately blown out of proportions to serve as a cringing reminder of them being astray for a while. Metallic, incandescent, a totality of their channeled selves. One thing must be said, and that is their total passive-aggressiveness gets overloaded into the domains of a rough-cut diamond, that will serve as a static assault. The sublimity is here in abundance.

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Those who serve Steel Hook Prostheses are going to get their full dosage rightfully so, before the release is out on the market. Digitally, we’ll force-feed you with everything you need to get your latest fix. They’re a lot more complex then a drug, and they’re for those whose heart is as molten; as their pieces of sonic decadence is. Those who should be stricken with fear is those whom are faint of heart. Now, in 2014, they will gain their rightful place once again. With the release “Rodent Ulcer“, which will hit you indiscriminately through their terrorizing landscape of sound, is due to be released in April. In the format of an extremely limited run of 100 CDr copies. Half of these copies will reside in the UK with 412Recordings for European listeners to buy, and the other half will be made available from Steel Hook Prostheses’ two members John Stillings and Lerry Kerr for the American audience, on Bandcamp in due time.

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With one of the longer tracks they’ve created, namely the title-track of this release “Rodent Ulcer“, they grind your senses down into pitch-black blindness. Severing the normal routine of your autonomous system, making your irregular heartbeats bounce into near-death experiences. What’s more interesting is the sheer power of the atmospheres that are cast into this 16-minute maddening piece of music. Every step of the way is carefully monitored by yours truly, John Stillings and Larry Kerr. Piercing vocals, clandestine tools of their use produce waves of decrepit folds to lure you into. Insanity is a mild word to use for this absolute force that is plucking away at you. Claustrophobia steeped into both a miniscule sound-scape, but also a grandiose one. It’s strangely attracting, in a seductive way. Hypnotizing you. The other is a track called “Lice“, which is almost bordering to the territory of noise, as the static sound alters into rhythms of two, one which displays an outdrawn characteristic, the other tearing apart the first. A menacingly introduction to sonic decay. Both tracks can be streamed exclusively from Invisible Guy down below, before release. Press play.