[20th|21st] December: Lymland & Neugeborene Nachtmusik!

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Two small Islands not too far away from one another—Langeland and Lilleø—might have more in common then you think. Both are geographically not far away from one another. The last-mentioned is closer to a bigger island, the fourth largest island of Denmark, namely: Lolland. If their names were to be transfused and given a totally new one, it would be close to suggest a certain Swedish act that released their debut-album in September of 2012. Since you’re reading this article and have glanced over the headline – you already know what duo we’re writing about.

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Lymland“—an Island full of lemmings? No, it’s not very likely. Rather: an island of wastrels – as “lymmel” is an older Swedish word for “wastrel“. Jerker Kaj and Sonja Perander, currently based in Malmö, released their first album under the name of “Ensamtidsroman” – which sounds terrible if translated directly in English and beautiful – in Swedish. Here’s where the actual thought about their own island came to set root. They created a map to represent their small island. Their reference for the outline of a map perhaps actually was Lilleø—one of the smallest islands in Denmark with an area of meager 0.86 km2. Linguistically the name is constructed of two components: “lille” (little) and “ø” (island), when combined becomes “lilleø” (little island) – with an uppercase “L” transforms into: “Lilleø” (Little Island).

Their artwork for the album outlines the different portions of the island, most of it linguistically interesting, with names on land such as: “Björndalen” (Bearvalley), “Saven” (The Sap), “Molnbyggen” (Cloud-constructions), “Stora Sågen” (Big Saw), “Klingen” (Third Person); from Old High German, etymologically in New Swedish: the blade of a sword. “Notgrund” (Shallow-Note), “Ryggen” (The Back), and “Snårskog” (Brushwood). When it comes to the coast and off the shore, the following names show up: “Gråsjälsgrynnar“, where “grynna” means: underwater shallow. “Silvertoner” – a reference to Sanna Nielsen’s debut in 1996 with the same name? Probably not, but maybe. “Hammar” – their Swedish place of origin? Which could be one of these two places: Hammar, Kungälv or Hammar, Hammarö. The final name, and description of their map is written out as: “Bullerkobban” (Noise-Islet), located in the North-East of their map and island.

Enough with our etymological descriptions and speculations, now it’s time for their actual music. Even though a description they themselves want to put on “Ensamtidsroman” is, and I quote a part of a whole collateral sentence: “Nine tracks that are held together by an honesty and simplicity,” may not be as developed like what we’re about to show you, but with the aesthetics of an island by our own definition, with the exception of their original intent, go well together and bring forth visuals that we ourselves adore. The idyllic setting and the freedom of an eremite, if only for a few moments, are what’s needed when you’d want to take a break and rewind. That’s what their music do on this specific album.

We’ve asked them to contribute for Ljudkalendern, a non-commercial collection where different songs are put up each day to create a nice palette of different kinds of music. For everyone to enjoy now when Christmas is soon upon us. So they worked on a track and got it mastered. Now for the 20th of December which we all missed, it will be our pleasure to bring forth “Fantom Mot Fantom” – a track seemingly inspired by the Finland-Swedish poet Edith Södergran, and specifically her poem: “Stormen (Rosenaltaret)“.

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Chondritic Spotlight: Klinikal Skum and Fejhed! [Part II]

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These are the earlier releases from Chondritic Sound. Since these releases, including Sissy Spacek and Jason Lescalleet’s VHS-release, there’s a lot more coming. But since I haven’t written about Klinikal Skum and Fejhed, I am about to do that right now. What’s interesting about these two releases and specifically one of them – is that both of them are dribbling in experimental territory – whilst one is wrought upon the grounds that Puce Mary stands on, with a part of Hoax (the crusty and dark punk band). You’re right, Frederikke Hoffmaier of Puce Mary fame have teamed up with Jesse Sanes of Hoax. They’re creating a regurgitated landscape of sound which can be found within the confinements of “Persona” – the latest release on the Danish label Posh Isolation, by Frederikke. But what is equally as interesting is how these confinements are diluted with this duo. There isn’t really any borders for how horrid and claustrophobic a noise-act can be. When it comes to Klinikal Skum, his sound-scapes are long and dampen from the suggestiveness of his exploration into the human psyche. From the delusional nature of humanity and what kind of psychosis lay hidden beneath the shallow appearance of so-called “sane” human beings. These are the two bands that I will delve into in this edition of the Chondritic Spotlight, which might actually be the last one.

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Ryan Oppermann. Klinikal Skum. Two different names that coincide with one another, one his real name and the other his pseudonym or alter-ego (if you prefer). Released his first album in 2005 on the label Ghost King, then aptly titled “Pulsating” – a word that can be pinned to his music now as well. Besides having started this project back then, he’s indulged into aliases as: Fabbrico Incubo, Neuntöter Der Plage, Post-Mortem Junkie, Redrot, Xombie and groups by the name of; All Bells Grounded, Aram Chaos, Black Lace Drag, Narcoleptic Ward, Rust Owl, S.P., Some Larval Dream About Smothering, Unveiling Asylums and maybe even more that I am not aware of. The similarity between these groups are his fascination of genres like power electronics, noise, industrial, ambient and whatnot. Add experimental in front of these labels and you might pinpoint where he’s been heading to. Besides that, he’s also kept busy with his own label Skeletone which have almost only released material with his different aliases as authors of it.

Now I’m here to describe his latest release under the name of Klinikal Skum. This particular release; “Negativ Psykotelepathi Surveillanz” was put out by Chondritic Sound back in May of this year and is actually some of the more disturbing blend of experimental industrial and power electronics that I have heard. It is sickening and almost unbearable to listen to and feels clinical in the way you wouldn’t want it to be. I feel like I’m visiting a morgue as a dead body and experiencing the wide-range of tools that Ryan Oppermann is going to use to dissect me. That is one of the more insane thoughts that have entered into my mind after listening through this album. What is more horrid than being exposed to this ecstatic wasteland of normal human dignity is to hear the complexity of the music he delivers – as it is actually well-thought out and that is probably the most scary part about it.  It could serve as a blueprint for how you’re supposed to enter a state of mind which we rarely, if ever, encounter in the real world. This is the kind of music that bring it upon us. I can actually offer a free download of the track “Dizeaze Blotter“, which is the track I find to be the best on this album.

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Frederikke Hoffmeier + Jesse Sanes = Fejhed. In Danish, the word “fejhed” translates into “cowardice” in English. It actually translates well into the name of some of the titles, like “Sorry“, “Silence” and “Drinking Spit“, for example. But when it comes to what they conjure together, it feels like might is right and that you’re stuck in a situation with someone whose might is above what you can say or do, a situation which you try to pathetically cower out of. Everything from the freaky atmosphere that lumbers on whereas Jesse and Frederikke take turns to shower you in pure filth. Feel your own disintegration as you fade away from this horrid reality that you have been forced into. This album of theirs is self-titled and is actually the first release under this duo’s name. I’m more than eager to just turn it off before it gives me a headache or any thoughts in my head that shouldn’t really be there. When it comes to the genres they mix in together it could be some kind of minimal wave nonsense blended into the harshness of “normal” noise, but it also feels experimental in the fact that they utilize the unorthodoxy of beats, rhythms and the general sense of an atmosphere, as you travel through a horror-show. I’m not sure if I could describe it any other than just that so you will have to check it out for yourself. All I can bring to the table is a free download of the track “Sorry“, which is the one I felt had the best overall feeling to it and that I really like. You can stream it down below, and this is the end of the spotlight.

Listen: Hollowfonts – XLVIII

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The crass musique concréte is the way to go. Hollowfonts delve into a largely unattainable atmosphere through field recordings, noise, drone and musique concréte as the main components of this landscape of metamorphosing sound. With the man Michael J. O’Neal behind the steering wheel, this experimentation in sound is way above the expectations. His recorded material from 2013-2014 have been assembled into a limited cassette titled “XLVIII” – making this his debut-album on Phinery; a record-label based out of Denmark. It delves into a certain kind of industrial landscape, maybe a post-industrial one. Showcasing each component within the sound-scape, utilizing the scrapped metal writhing into an ambient, almost hallucinatory landscape. The brute intentions swirl into themselves creating a magnificent landscape which is probably out of bound for any human. A spaced-out drone is compiled between the desecrated landscape, an equivalent to a Mars-landing for the first time. Houston has no problem with indulging himself into this suspense-ridden atmosphere. Within the blink of an eye everything can be changed into something more sinister. It’s like going against a sandstorm of mighty sounds that just think nothing of you, as nature has its way. It is also going out of its own way to be fatiguing to the mind and body. I feel a certain kind of strain on my ears when I listen to it, a draining feeling – but I must keep going. The album itself can be bought from Phinery, the cassette is limited to fifty copies and you can listen to the album in full, down below.

Free Download: MERX – Poor Unfortunate Sons

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MERX is a moniker that is made up by a half of German Army. Yes, that’s correct, the German Army that I’ve covered not too long ago when they released their album “Last Language“. You could probably figure out that yourself, since a lot of the sound resembles their super-group. MERX latest album “20000 Sq Ft Under The Sea” was re-issued by Permanent Records – whom also put out “Merx“, their self-titled debut. What makes this release an oddity, though, is their classic post-punk mixed with the remnants of the late 80’s New Yorkish no-wave. These Los Angeles hounds are not easily moved or impressed, but they share a lot of influences that can be recovered from that particular decade. Combine that with the cold harnessed touch of cold wave, and you’re set for you trip into megalomaniac territories. Even though their debut was more cleanly shaven and post-punkish at its core, these post-punkers care not to delve into old cliches. Cris-crossing genres is a sport they would gladly engage in. Even engaging in such outlandish behavior as to combine the industrial electronics into the minimal, but cynical – mess. As you delve into their landscape, fear not the no-wave sound, because these heroin-fueled dreams become a longing – as the clinking guitars and groovy baseline catch you (and your breath). Breathe when you’re near, because they have a terrible odor. Cherish the time you had without them, but please remain seated during this experience. We’re here to offer you the last track on their record, namely “Poor Unfortunate Sons“, exclusively on Invisible Guy – as a free download. Listen to it and remember to not shriek in tune with them, or they’ll make a mess of you in their musical setting. Terrible news, isn’t it?

You can buy the re-issued record straight from Permanent Records, strictly limited to 100 copies on vinyl. Make sure you check out the original release that went out on Skrot Up earlier this year, also.

Premiere: The Foreign Resort – Dead End Roads [Musicvideo]

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We’re late on a premiere, but it’s beginning to slowly unfold. The Foreign Resort have released a single, as a run-up for their coming tours in Denmark, The Netherlands and USA – this fall. This particular single goes by the name of “Dead End Roads“, and is taken from their forthcoming album, which they have been working on together with the legendary John Fryer. A noticeable difference this time is that they rely on dark and heavy synthesizers to be pushing the sound itself, with a more electronic approach to their music then they usually have. The beginning of the song is absolutely fantastic, but so is the rest of it. But the gritty and adrenaline-filling synthesizer that hits it off, gives a particular sense of suspense. The sound itself is more cold and calculated, as they do not rely that much on their trade mark that is post-rock mixed with post-punk and new-wave. So it’s obvious that a lot of what you’re hearing have been affected by John Fryer’s mixing, producing and engineering. This might just be a temporary thing, just for this album, but I’m currently liking what I’m hearing. It harkens back to some of the legendary bands of yore. But there’s something new and fresh about it. It is deeply emotional, but at the same time on the edge and in the dirt. The music video was directed by Morten Engels Ryming, the actress was styled by Sascha Elvar, and the actress herself is Emilie Flyvholm. With special thanks to Photographica & Henning Ørsted. The single was recorded in the time-span from March to April 2013 – at Black Tornado Studios in Copenhagen. Last but not least, the masterful sound itself was mastered by Chris Cline at Studio Wonder of Sound, in San Antonio, Texas. You can also listen to the track down below, along with two remixes of the same track.

 

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.

Countdown to Christmas – 22nd December

Since I’m way off on the countdown this time, I’m going to introduce one new clip each day until the 24th of December. I’m eagerly awaiting Christmas (or Yule as we say) and this day is dedicated to The Foreign Resort. A band that I got to know more about when I wrote a longer piece on them for Festivalrykten.se. I had just found out about them when scrolling around on bandcamp, trying to find a feature for BOTD (Band of the day) on that particular site. So I wrote a piece about it and I think they snapped it up somehow. I don’t remember how they did though, but that is a story which could be answered by themselves. The feature I did was for their whole discography and for my favorite record of theirs, which is their self-titled release The Foreign Resort (2011).

One of the songs that I liked a lot was Colleen, which is the first track on that album. It has such power and is an inspiring work for every band that wants to start within the new-wave/post-punk genre and not be a copy of Joy Division. Which everyone seems to say about every damn band that emerges, that could have any resemblance with that band or be influenced by them. However, I feel like The Foreign Resort are in a league of their own when it comes to their music. I also got an invite to one of their shows in Christiania, which was a great show with a lot of great people around. I had never been there to begin with, so it was my first time there.

Must say that it was an awesome experience and that it was one of the best shows I’ve attended in a long time. They were there with another Danish band and an American one, which was also a great band. They had a lot of things in common and the night was sealed there and then. Later on I also got the opportunity to review their latest album Scattered & Buried (2012) which was a great progression from their first full-length, even though it might’ve not been as good. But I think it was a great album anyway, and it shows the maturity of this band and that they deserve to be on this “list” before Yule arrives. You can also read my feature on them over at Festivalrykten.se, if you want to.

This is the 22nd of December and I’m the Invisible Guy.