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.
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.
As a concept, they’ve existed for quite some time. In 2010 they released their first self-titled album “Sumerian Fleet“, this was when their concept only included Alden Tyrell and Mr. Pauli. These two men whose real names are Martijn Hoogendijk and Ingmar Pauli, have been active as electronica producers since the late 1990’s. When two years had gone they realized yet another album which they titled “Sturm Bricht Los” – released on the eminent label Crème Organization in 2012. The difference between this album and their first was that Zarkoff was included on vocals and the fact that it moved into electronic body music territory, having been very close to electro on the first release. Now some of you might wonder who that fellow is and I will tell you who he is, he’s an electronica producer from Croatia whose legacy stretches well beyond this. His most notable contributions come with collaborating with Popsimonova, the Croatian lady whose moniker became more well-known with her “Untitled” release on the Enfant Terrible sub-label Gooiland Elektro. Now they have released a new album titled “Just Pressure“, which celebrates (on purpose or not) the two year space between each release.
This release in itself brings forth the qualities of real electronic body music – when mixed with darkwave and electro – how those three manifestations make for excellency. Much to the joy of those whose interest in the new generation of EBM got sparked by the numerous acts around the world specifically in the US – that create such music. There are so many nostalgic tears that are taken care of with this album but it pays a tribute to those who inspired their sound, those whom did it before them. They’ve learned how to refine their music to become less raw and more sophisticated. It is really a matter of taste if you like their second album in relation to this one. I had asked Zarkoff to share a piece of this gem with me and he sure did. I got to exclusively premiere the track “Orbiting” which is taken from this album. I believe that it is a nice track which makes good use of the synth-stabs and the rhythm is nothing less than a focused attire which makes the melodies bleak in comparison. Heck, I don’t know if that’s right, but it feels that way. Listen to the track down below.
More then a week ago, a new compilation emerged out of the alternative underground. A compilation that caught people off guard because of the beautiful representation of cold-wave, post-punk and experimental selections – including a wider variation of genres. Featuring both unrepresented artists and those who are not. First off are Excuses, the solo-project by Matthew Rowe whose debut was put out on the now defunct label Function Operate, back in 2012. This self-titled release featured five songs but his contribution to the compilation was with the track “We Are Fuel“. It is a raw track which lets a dodgy atmosphere with shoegaze fill out the sound-scape, together with the ambivalent riffing you’d only find within darker post-punk. Although his vocals on this song isn’t up to par with the rest of the landscape of sound, it is held up by the general mood that he delivers with sincerity. I just wish it was coupled with a better vocal representation because right now it sounds too cheesy. But I must say that it is a good opener which sets the bar for the rest of the compilation higher up.
A glistening example of how you combine genres for the best result, can be found with the 77™-outfit – a Polish-Danish duo on the edge with their debut-release “Spam“. This duo started out with a live-performance back in 2009 on Christiania’s Open Air birthday party. Christiania is virtually a society within the society of Denmark, located in the borough of Christianshavn, in Copenhagen. Having played in a lot of different clubs and festivals across Scandinavia and Central Europe, it took a whopping five years for them to put out their first album. Comprised of the all too talented Aga Wilk from Poland, whose first and only release, a split with Marburg on the Polish label Oficyna Biedota in 2013 – it is nice to have seen her venture into this collaboration. On the other hand, Christian Gjelstrup, the Danish native, an interaction designer turned to form this duo. Now when their album has already been released on the 9th of June, it is a pleasure to be describing what I got to hear from what they’ve put out. The music is everything from dark and shady electronic body music, to the static measurements of techno. When it comes to their own songs and not the remixes, they tend to present a stale and rather amelodic sound. Unhinged female vocals that are almost distorted beyond recognition, together with the steady rhythm of the beats. The remixes, however, lend the expertise from François-Xavier Michel (Millimetric), Andrea Pritschow & Malte Steiner (Das Kombinat) and Oliver Chesler (The Horrorist) – which the album is in dire need of when you’ve listened too much to them – a good complement to the original songs.
Some time ago I got to premiere the best remix. I found that the maniacal turn that The Horrorist gave the track “She Likes To Watch You” was just up my own alleyway. As he contributed with the nocturnal turn á la Oliver Chesler’s own formula. It was enjoyable to listen to it and it became more of an uptempo track stuck in transmission. A looming rhythm that hasn’t got the need to be moved the slightest, besides when it comes to change of melody. Wrenching in his own vision of what 77™ delivered with their original track. So I premiered this track a while ago and it was enjoyed by a lot of people, and I noticed that Oliver himself posted it around before everything was released. I’m afraid that I haven’t really had the tempo I’ve been keeping this year so far, so I’ve fallen behind on most of the stuff I’ve been doing. But here you go, the exclusive premiere of “She Likes To Watch You (The Horrorist RMX)“. You can also listen to the whole album from Mecanica down below, and you can also buy the vinyl-release here and digitally, here.
Not searching for something special, I came across a wild concoction of old-school sounding industrial. It’s not what you would expect from yesteryear’s version of it, but rather with an electronic body wrapping and an experimental setting. Frantic beats with electronically wired melodies and an unpolished exterior is exactly what MetaMorphosys is. Besides being the alter-ego of Cory Tucker, it’s also his playground for experimenting with an industrial sound. His album; “Out Of The Picture” was originally recorded back in 2013, but have been re-furnished as “Version 2” and re-released. The simpleness of the rhythms are paired with an analogue sound you’d simply dream of setting up yourself. This is something I would expect to come out of Nostilevo, except maybe not as melodious or accessible as this actually is. For you electronic body enthusiasts, you might find yourself to be settled in perfectly with his atmosphere. Somewhere along the line besides the general funkiness that can be heard at times, he moves into experimentalism with a noisier-than-thou approach to some tracks that feel like placeholders before an excellent track. Dark melodies shift through an upbeat electronic motion, that cyborgs would’ve envy had they unearthed this album decades from now. Although some of the lyrical content and his vocals sound amateurish enough, it isn’t really that which is keeping me from listening to it. The general sound of his creations are enough to pull me in and stay listening throughout the whole album. You should listen to it yourselves. This album was put out in it’s second version on the 22nd of June by himself. It can also be downloaded for free.
Playful synth-pop with that odd Börft angle when it comes to rhythm and melody. Börft Records have been the sole proprietor of Johan Sturesson‘s own project Kord at first, but he’s switched to different labels during his years, releasing material on his own label Råsynth I Blekinge, Djuring Phonogram and just before this release, on the Malmö-based Rundgång Rekords in 2013. When he’s not busy with his own solo-project, he’s also one of the brainiacs in Frak, a rather mystic and anonymous group at first – but a national jewel for Sweden’s odd electronica-lovers. He’s also been involved in an off-shoot duo with Daniel Svraka (Adolf Filter), called Monster Apparat, with whom they released the double-single “Moster Dajm / Rymdmotstånd” on the Kernkrach sub-label Hertz-Schrittmacher back in 2009. It would seem like the ironic touch of Börft Records have been appropriated on every project that is related to it. A kind of Swedish humor, with a touch of Blekinge in it. A certain kind of humor that is very funny if you’re tired, but also if you’re working with music for most of the time. In Sweden we call it “torr humor“, which means “dry humor“, but do not let it take you astray from the wonderful music that is being produced. This is only when it comes to some of the song-titles and titles of releases by him. Rather than being an insult, it’s a good thing when they first incorporated this humor into it. In regards to the artists and groups that have had their material released on Börft. So when Kord finally is releasing something new, he’s including Annie Gyllin on vocals, making it an album that features her brass attitude amidst a carnage of weird synth-pop, electronic body mayhem and dance-music.
This release is being put out by the Enfant Terrible sub-label Gooiland Elektro which deals with everything from dark electro to experimental electronica. A four-tracked released titled “We Live In This 12¨ is being put out upon this label, the first release from Kord since a year back when older songs were released as “Midsummer Night Special“, together with a collaborative track featuring Glenn Stenbring and Rebecca Lindell, called “Boy” – which was recorded in 2005 as a school-project of his. Anyway, Repartiseraren have been in a collaborative effort together with Martijn who’s the label-boss of both Enfant Terrible and Gooiland Elektro, where I’ve had the honor to put out exclusive tracks from coming releases. This is also one of these efforts, as we give to you the track “Control” which is featured on the B-side of this release, for you to exclusively stream from Repartiseraren. As I’m re-launching my platform, this comes rather unexpected, but I welcome it and would like to thank Martijn for his continued faith in my blog-zine. Hook your stereo in, put your headphones on, lay back in your chair or what ever you find pleasurable to be resting in – and tune in for this weird mixture of the best of many worlds of electronica. Stream the track down below and pre-order the vinyl from the Enfant Terrible webshop. First edition comes in 100 copies of pink vinyl, second edition in 200 copies in black vinyl. Expected to be released at the end of April.
They came from the South of Sweden, namely from Veberöd, Lund. Physique Sedition is the name of a group of friends whom were active in a smaller scene from 1991-1992, where they did different live-performances in front of audiences in their local community. Their one and only mini-album was released in 1993, under the name of “Epidemic“. Since December 1992 they’d been recording the material that was featured on this mini-album. During this period of time, the original line-up was as most active, as the group consisted of Andreas Lundberg, Lars-Erik Pettersson and Martin Andersson. The most interesting thing is that they were all still in high-school when they recorded these tracks. When Andersson left the group, the other members Lundberg and Pettersson continued with their struggle as Physique Sedition some more years, before they gave up on the project. Later on, in 2002, they reformed under the name of Radical Tea Party – together with Sebastian Fannon. Every gig they had done during their period when they were the most active, was always in the little town of Södra Sandby, just outside Lund. Since this project hits close to home geographically, but also musically, their four-tracked mini-album represents a whole lot more. The perfect combination of EBM and harsher elements of industrial, also indulging in electro-industrial mayhem together with an atmosphere that gives and takes from darkwave. All four tracks were recorded onto a Tascam 4-track portabel cassette recorder, using equipment like Ensoniq Mirage, Yamaha RY-30, BOSS SE-30, Korg Poly-300, Yamaha FB-01, Yamaha TX16W and Roland TR-707. Even though the sound isn’t that great, you should still listen to this magnificent release. Originally released on cassette in 1993. Stream it down below.