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.

 

 

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[7th] December: Conspiracy Coven – Plague

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Things mustn’t happen for a Sunday to be exciting. It’s not the excitement that makes for a good Sunday—it’s the ability to relax from a hard weeks work. Whether you enjoy it or find it to be a day where nothing materializes, it’s still one of the most important days in our opinion. You can make much of it if you only wanted. We’ve invited Conspiracy Coven to participate in hindering this night from entering the next day, an even worse one called: Monday. Being an anonymous solo-project which leaves no trails for investigation—we’d rather not anyway—make it even more of a fascination—in sound. His first album “Dark Disco“, a five-tracked mini-album have not yet sold out the twenty limited edition copies of a cassette well-worth buying. So we’ll push for this release here and make you buy it because it lends more funds for him to continue making his music. You might have noted that it’s somewhere in between minimal synth and post-punk, though not a regular streamlined project as it holds a layer of nicely crafted analog synthesizer. A simplified and minimalistic approach with tendencies to whirl out into a planned happenstance. Not to mention how irregular synthesizer melodies are smashed together by an analogue drum-machine.

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We must admit that some of the vocals on the release sound rather cheesy, but in an intelligible way. This son of Norway have just put out his first release a few months ago so cut him some slack. He’s still developing his sound into what came to be a ragbag of different influences, plus ways to create music in which other artists and groups fall short. For Ljudkalendern he’s created a completely different track—from what he usually puts out. It’s in a whole different class and style, putting an end to the cheesy interior of his otherwise promising sound—making it even more intense and dark. There’s some kind of electronic body music peeking out of his energetic minimal synth, minimal wave sound which he’s constructed for this non-commercial collection. A newly produced track called “Plague“, featuring darker tones in his voice and a more spastic, erratic atmosphere which fills you with uncertainty. Maybe not as predictable as other tracks in our fair opinion. You’ll be able to stream this song exclusively as a part of Ljudkalendern—for the 7th of December.

Poem:

Head down into your conscience,
for a new reality of unbridled brutality
Re-wire your synapses,
until your brain collapses

No more questions shall be asked. Just let it sink into your mind and make his sound a spiritual protection. We’re in a meta-physical state over-viewing our puny selves. Shape up and settle down, because your savior is here, he will shield you against inadequacy. Here’s for a new form of Conspiracy Coven, for the 7th December, exclusively for your listening pleasure (or displeasure): “Plague“. Next up is the 8th of December, a dull Monday where you’ll need another track. You’ll have to wait.

Listen: …Of Tanz Victims – Fighting False God / Haunting the Empire

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From the current hotbed of synthesizer-based acts, mainly the Canadian city of Montreal, there’s more than a resurgence of artists and groups from the 2000’s. From the depths of dungeons, assembled yet again but in exactly the same shape as before, comes a resurrection for …Of Tanz Victims in a digital format—rather then on vinyl. This Montrealian (Québecian-based) group had their peak during the 1980’s—then associated with the independent label and store (now defunct) Bunker Records—not to be confused with the Netherlands-based “acid-house” label with the same name. It consisted of the members Robert de la Carignan (Robert Mailloux) on guitar, bass and vocals, Denis Wooty (Dany Wauthy) and Roy Batty (Roy Batty) on synthesizers, drum-machine and vocals, with Sat W. Ford (Stefan Figiel/Stephan Faulkner) sampling, percussion and vocals. Everyone in this trio contributed with their voice for the project. Now they’ve put out their first single “Fighting False God“, and their fourth album “Haunting the Empire“—as a digitally buy-able and downloadable item for your consumption.

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Their rather shady description on their Bandcamp-page suggests a contrast in between a real identity and a fake one, all for the purpose of entertaining theories on the origination of the project—but mainly questions about their identity. We don’t really want to find it out. Since their original releases on vinyl seem to have held quite a nice quality, there’s no reason to believe that the music have been re-mastered for this purpose—just digitized. But who really knows. The name of their project is equally ridiculous and fascinating. Not to mention how much more fascinating their music is, which seems to dwell in between an avant-garde take on industrial, electronic body music, noise and electro. Those main influences bring forth assorted non-electronic music with overt electronic ingredients—masterfully utilized in total synergy. We give our warmest recommendation for this group and hope this return bring them back with more interesting material—heads up to any and every re-issuing label out there. Listen to both releases down below.

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Listen: Geometry Combat (+ Exclusive Premiere)

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Dramatic voices heard in the distance, but still so close. Beats come crashing down upon you. There’s nowhere to hide and a sense of urgency is mediated through roaring melodies. Geometry Combat is a new project — and the architect who creates the schematic (sound-scape) — is rather anonymous. He’s managed to shackle the visionary and at the same time dystopic, landscape with an overtone of dark electronica, where minimal synth and electronic body music form the launching-pad on which he sets the rhythm and melody — prepare for take-off. From the diluted perspective that “Killing Movement” convey, to the straight-forwardness of “Darkest Sins“, up until the nearly wholly industrialized sound of “Body Hammer” — make him a master of contrasts — even though most of his music seem to be shaped from the same genres.

We’re able to give you a foretaste of what’s to come. His only releases so far are three songs equally as diverse, but in two weeks a debut-album will be released. So we came up with a great idea for those of you who might enjoy a sound like this, and for those of you who haven’t yet heard of this project — the ability to stream an exclusive track from the forthcoming release. It’s called “Deadly Armour Ceremony” and holds an even more militaristic stance musically then any other track. The post-apocalyptic scenario is fully embedded, but you don’t really know if you’re in the middle of it or if it’s still pre-, or post-. A great deal of confusion is delivered amidst emotionally provocative melodies that wrench out the most of you — with force, whether you approve of it or not. You have a virtual barrage of artillery, machine-gun fire and everything you could think of, coming at you — full-force. Stream the exclusive track down below and listen to his current tracks up above.

World Premiere: Mlada Fronta – Strict Dress Code

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Originally a group, now a solo-project. The French electronica-group Mlada Fronta, originating from Cannes, have had a rich history which has left a huge impact on techno, electro, EBM and industrial foremost, but also on ambient and IDM. Before entering the well-deserved limelight, the group released “My Visions“, “Illusory Time” and “Tribal Apocalyptic Dance” – one debut-album, three albums – spanning from darkwave, to industrial and electronic body music. Suggesstive undertones, hypnotizing atmospheres that make way for you to enter a bizarre tunnel of sound which have swept over you before you even know it. Undeservedly underlooked albums that might’ve been the collective form that molded their critically acclaimed breakthrough “High Tension” – an album that was as varied in terms of genres – as was the sound. No room for any clichés, only a space reserved for a palette of different but equally intriguing tracks, strengthened by the crossover itself – not swallowed whole. The track “XB-33” went on to be a banger in the clubs and could be heard everywhere – in 1999. We’ve taken a liking to the title-track itself because of the harsh sound, but “XB-33” surely packs a rhythm that will even make you flail your arms around as if you didn’t have a pair.

Taking the step from Tribal Productions, which almost exclusively released Mlada Fronta’s albums – the German label Flatline Records cut their piece of the cake with “High Tension” – first album to be released by a label other than their own, or at least their first deservable spot on a whole other roster. When the 1990’s were over, it seems like Rémy Pelleschi of the group took his own route with the moniker and released “Fe₂O₃” on the French label M-Tronic. With the earlier albums they had been a collective, a group of people working closely with Rémy on earlier albums before the 2000’s, including: Gilles Saïssi (My Visions, Illusory Time, High Tension), Jan-Louy (My Visions) and Philippe Croq (My Visions). With the album on M-Tronic, Rémy took to a more experimental side, mainly laying his focus on rhythmic noise as an overlaying sheet – taking to account all other genres he’d visited and re-visited during his earlier albums.

In 2002 an album titled “Oxydes” surfaced on Rémy Pelleschi’s own imprint Parametric. It included both the original album and remixes by a number of artists such as: Gom, Tarmvred, Milligramme, Dither, Mimetic and Data Raper. He even went so far as to remix one of his own songs. There was also a limited edition release of “Oxydes + Remixes” which included live performances from 2001 in Liege, Bordeaux, Lyon and Cannes. In 2005 a DVD was created and made under the name of “Dioxydes”, featuring unreleased material in an exclusive metal box, including twelve postcards, stickers, bonus material, photos, a live video from Maschinenfest in 2004, Le Cycle Du Soleil – and a radio-documentary called “The Shaker”. During these years, from 2001-2005, Rémy gained even more fame through bigger magazines picking up on his creative outburst which flourished during this time – as it did before, but with another goal and another sound in mind – so versitale as an artist and uncompromising.

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Let’s not write a whole biography here. There’s other labels who picked up on what he was doing, including Sounds Of Industry who released compilations of unreleased material, like “Contrast 2005-2011 Unreleased And Rare Tracks” and “Contrast 1998-2004 “Unreleased And Rare Tracks“, together with digital releases of “Dioxydes“, and “Le Cycle Du Soleil” – two different versions, one as an album and the other as an EP. The torch was then passed on to Artoffact Records, whom did an ambitious project collecting copious amounts of tracks which carried virtually (almost) every release that Mlada Fronta had put out – re-mastered and re-packaged into a 10xCD Box Set, in 2013. Now they have gotten the honor that it actually is to put out his comeback, an insane album that showcases the talents he still has and reminds a lot about “High Tension” – but actually carries the executed electronic body music and industrial sound – into another dimension including IDM and Techno among the main perpetrators.

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Repartiseraren is a really tiny blog-zine. We could not in our own imagination even fathom that we’d have anything to do with Rémy Pelleschi and Mlada Fronta – ever. But since Artoffact Records will release his forthcoming album (and return) “Polygon” now on the 4th of November, we’ve gotten the rare opportunity to exclusively premiere a track from this album. It is a rather anthemic and harsh electronic body-influenced track with techno smashed into it, titled “Strict Dress Code“. We’re the first to be showcasing his material now when he’s returned. This is a world premiere only available from Repartiseraren for you to stream exclusively. We’re proud and thankful for this opportunity. Please do it justice and listen to it loudly, then go over and order what ever version of “Polygon” you want at Storming the Base. When you think about ordering it, “Night Run” will be the “companion” vinyl-release to this forthcoming one.

Premiere: Maskinåldern – Avsnitt 3 – Gustav Jansson (Sturm Café)

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Det här är ett avsnitt som jag velat göra sedan jag startade denna podcastserie. Egentligen fanns där inga stora förhoppningar om att lyckas med det, men efter mycket om och men så blev en intervjutid bokat för avsnittet med Gustav Jansson från duon Sturm Café. En grupp som inspirerat många andra inom den “nya” svenska bodyscenen som långsamt började växa fram under tidigt 2000-tal – där Sturm Café var mer prominenta nu i efterhand – än vad de visste där och då.

Men egentligen är det helt egalt i sammanhanget. Fokuset låg på hur bra musiken var och vad som varit upphovet till deras musik, inte bara i studion men också i dynamiken hos duon och deras liveframträdanden – egentligen hela det kit som gjorde att denna duo på ett rätt så framgångsrikt vis kunde göra ett avtryck inom elektronisk kroppsmusik – både här, i Tyskland, men också i resten av världen. För att inte glömma att nämna de otaliga sidoprojekten, varav Kommando XY och Working Puppets utgör de mest prominenta – och kanske egentligen de man intresserat sig mest för.

Nu har man gått och väntat länge på att få släppa detta avsnitt, som är mer än två timmar långt och innehåller en djupintervju med Gustav Jansson. Här får man reda på en mängd saker som inte kommit fram i tidigare intervjuer, kanske för att frågorna inte formulerats på detta vis eller att intresset inte funnits. Förutom att avsnittet är så långt så finns där även tre exklusiva och osläppta låtar, som “1632” från det färdiga (men osläppta) albumet “Europa!” av Sturm Café, demoversionen med en annan sångare på låten “Kyss Mig” av KROPP, och en tidig demo av låten “Mozart-Ideal” som förmodligen är en av de mer populära alstren Sturm Café levererat.

Mycket mer kan egentligen sägas och man skulle kunna täppa till så många andra luckor, men jag låter någon annan göra det. Det finns alltid något av intresse. Det är bara så skönt att äntligen kunna leverera det tredje avsnittet av Maskinåldern. Nu tycker jag att vi kör igång maskineriet för fullt.

Innan ni börjar lyssna så vill jag tacka Minmiart för konstverket till avsnittet. Ni kan titta på annat som hon haft för sig genom att besöka: http://minmiart.tumblr.com/

Låtlista:

1. Spartak – Tiden
2. Position Parallele – Silence et grésillement
3. PTP – Show Me Your Spine
4. Sturm Café – Koka Kola Freiheit (Thomas P. Heckmann Remix)
5. Jäger 90 – Immer Dümmer
6. Sturm Café – 1632 (Unreleased)
7. DAF – Ich Will
8. Kommando XY – Manlig Gemenskap
9. Portion Control – Karateka
10. Keine Ahnung – Plastik
11. a;GRUMH… – M.D.A.
12. Kommando XY – Norrland
13. Working Puppets – Monopoly
14. Working Puppets – Welcome
15. Rheingold – Distanz
16. Les Visiteurs Du Soir – Je T`ecris D`un Pays
17. KROPP – Kyss Mig (Demo Version / Other Singer) (Unreleased)
18. Sturm Café – Mozart-Ideal (Demo) (Unreleased)

Exclusive Premiere: Zex Model – Rokk

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Pink Sexdeath, Degenerate Slug, Demon City Reaper? Three names have one thing in common – they’re all names thought out – and executed in musical form, by a man living in Kaliningrad, Russia. Not only does he have all those alter-egos, but many more that I won’t list. He is or have been a part of two groups called Modern Howl and Ninika, each one different from the other, but also closely knitted together by darker genres. Even though he’s had a lot of projects going on at the same time, he’s dabbling with a special kind of project which he calls “Zex Model“. This musical project started out not too long ago and pushed him further into musical obscurity than what you’d think. Considering this, his project has risen in popularity since his first releases – and opening for Lust Of Youth in Russia. With his official debut-album “Mind Slaughter” having been released on desire records in 2013, and a self-released EP titled “First Mutation” – he solidified his presence further. Once a darling in the brooding underground, now a good rated artist fit for another level in the underground.

Simultaneously in another part of the world, a man by the name of Fade Kainer (Theologian, etc) self-releases his first album “Mask Visions Poison” under the name of Statiqbloom. This is in 2013. America have gained yet another notable industrial-act that strays away from the cliches, and embraces their own version of what inspired them in the first place. Meaning; they decide to twist the originals of the 1980’s and 1990’s by layering their own vision upon the ground which those men built upon. The building blocks are on a steady ground. The album itself sells out on cassette and remains on CD up until now. Two alternatives offered, one bought and sold. Even though both Zex Model and Statiqbloom are very much alike, the last-mentioned relies on heavy electro beats and a body rhythm, whilst Zex Model is utilizing the rough texture of industrial on experimental soil; to the maximum. Then we entered 2014 and brooding for Statiqbloom was yet another album which he gave the title “Black Mirrors“, released only on a limited edition cassette. This was to be a release before two kings met up and decided to build upon a platform settled by them both, and others. Diplomacy entered the game and here we are.

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Fast-forward to later October, early November this year and you’re in for a treat. It was only a matter of time until desire brought these two new-comers closer together. In regards to their sound, it was a sound choice. Zex Model and Statiqbloom engage in a split-release that features eight tracks in total and four tracks by each artist. The apt design for this release is what Fade Kainer thought out and did. From the first four “Atropy Of Three“, “Contaminate“, “Slow Void” and “Behind Glass (Second Pane)” courtesy of Statiqbloom on side one. To side two featuring “Forbidden Alterations“, “Rokk“, “Teosophia” and “Tokyo Blitz” by Zex Model. I chose the second track “Rokk“, because of the atonal message that is what makes his project what it is in the first place. From his ode to Skinny Puppy and the likes, to his experimentalism that fiddles with a classic industrial atmosphere and makes the atonality spin the wheel – a confusing sound which at first obfuscates the rhythm – but later on is quite a trip into the originality of his project. A harsher version of Nexus Kenosis might actually find a way through your mind, intentionally or not. Stream the exclusive track “Rokk” down below and see to that you buy the vinyl from desire records when it comes out, if you like what you’re hearing.