Exclusive Premiere: Lapse Of Reason – Go Away

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Khemia Records
are putting out yet another intriguing release, this time their first compilation, titled “Tertium Organum” – a reference and name taken from P.D. Ouspensky’s philosophical synthesis from 1922. The release is what one could expect from Khemia, a sound that is applicable to the masses but works inwards to a whole different set of sub-genres.

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Somehow they’ve managed to curate a compilation that will appeal to more people then their regular crowd, a feat not easily captured from the underground. We’re excited to be working with them again, providing to you what we think is one of the best tracks on this compilation – “Go Away” by Lapse Of Reason.

The compilation will be released on the 7th of December and you can already pre-order.

 

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Exclusive Premiere: Bakunin Commando – Void Desire

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Post-electronic body music that has morphed into a monstrous repetitive being, a permanent assault on your eardrums that is as uncompromising as the outlay in Bakunin Commando, Signore Baudazzi’s brainchild takes as much as it gives the listener in return – an anarchic point of view transmitted directly and forcefully into your mind.

The split-release is coupled with more industrial hemorrhage, as Veleno Viola takes the lead roll, the main alter-ego of this man’s twisted world. No matter what you think about the music itself, the release is aesthetically pleasing in different ways, even though much of it could be enhanced – the small tidbits that you get to enjoy are enough.

In collaboration with Kess Kill we exclusively premiere this track, as this is written it may already have been released, the eight release in Kess Kill’s discography (KESS08), paving the way for even more ambitious music in the future. You can get the vinyl here, listen to the track exclusively down below.

Exclusive: Repartiseraren announces; Celldöd added to Kalabalik på Tyrolen 2018 line-up!

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We’re glad to be collaborating with Kalabalik på Tyrolen before the festival starts this year, and announce that Celldöd will be performing live on this year’s edition of Kalabalik på Tyrolen 2018 – which takes place in the idyllic setting of Tyrolen between the 24th and 25th of August this year – in a classic ‘folk park’ with a charming 1960’s aesthetic – as it have been for as long as it has been arranged.

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Celldöd is the newest project of Anders Karlsson (Severe Illusion, The Pain Machinery, Vargdöd, et cetera), and he’s come a long way musically since having one of his tracks released on the first Ljudkalendern compilation on Repartiseraren back in 2015, and the second one in 2016. With releases on his own label Brutal Disciplin, Smashing Tapes Records, Femur, Medical Records LLC, and the latest one being “KESS07” on Kess Kill.

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Ranging all the way from ambitious electronic body music, to acid techno in a new outfit mixed in with primitive minimal electronics, oozing of industrial vibes in a post-industrial world – a perfect match for total misanthropy and a knuckle in the skull of the unknowing. His live-performances have been praised for his total control over the ‘meager’ instruments he’s brought with him, being able to execute a perfect showmanship despite his instruments malfunctioning – using it to his advantage, to create a whirlwind of soaring destruction.

He’s performed on Kalabalik på Tyrolen a couple of years ago already, but this one will be on a whole other level, we anticipate at least. It is a must-see performance which you’ll be able to enjoy if you snatch a few tickets, invite your friends and whomever you like or dislike to this festival – it is a once-in-a-lifetime experience that we at Repartiseraren want to see next year as well – but it all depends on your support.

You can buy either an early bird ticket or an early bird support ticket – to show your appreciation for Sweden’s undoubtedly best alternative music festival. Here’s a link to where you purchase your ticket. Stream the latest release by Celldöd down below, and purchase the vinyl-release from Kess Kill if you like what you hear.

Showcase: The forthcoming Enfant Terrible-releases

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Over hundred releases have been shared to the world through Enfant Terrible. The sub-label Gooiland Elektro is almost up to a third of that number. What an exciting time to be alive, especially considering the quality of releases that has been put through both labels. Having garnered a notoriety of being a good label when it comes to experimental electronic music, people have started to notice their presence even more. We’re setting up a digital showcase of the releases that are coming out now in the beginning of October.

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LCN – Autonomie EP

LCN or the alterego for Le Chocolat Noir have been a guest on the 2016 compilation on Enfant Terrible, titled “Noblesse Oblige“, with the song “Appartenance“. The only other release is a collaboration with Zarkoff on the Iron Flute 12¨ released by Return To Disorder. His electronic music could be described as some really weirded out electronic body music, together with electro vibes that keep the notion of sanity intact. Claustrophobic minimalistic and repetitive, always on the edge musically and on par with other acts of the same caliber, maybe even in a corner of his own.

This will be his first multi-track release and EP, which is an exciting thing in of itself as this kind of music almost never make it through, unless you’re into it. For those who like the more experimental side of earlier electro, this release is something you should look into. A mixture of french and german can be heard within the lyrics of the songs. Everything is an eerie reminder of how sullen things can be.

It will be released on a limited edition 12¨ (of 200 copies) with screenprinted sleeves, as Enfant Terrible (ET052) and Gooiland Elektro (Gooiland 29).

Tracklist (with previews):

A1 N’Écoutez Pas Tous Les Conseils De Vos Amis
A2 Dans Mon Désordre

B1 Solitude
B2 En Retirant

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Savage Grounds – Area Of Violence

Switzerland duo Savage Grounds have laid their foundations with another label – with three releases on Lux Rec – now join up on Enfant Terrible for their latest EP. Their earlier sounds are not as refined as they are on this release, where it packs a momentum unheard of when it comes to electronic music. It is really heavy but at the same time catchy and melodic. According to the label itself, these musicians venture through and beyond their description of “post-techno” – what ever that is supposed to mean anyway. This is music that transcends those etiquettes but fit into them like a glove at the same time. It is rough, gritty and unrelenting.

Taking obvious steps into acid and industrial as well, alongside electronic body music, this seemingly instrumental take on those genres combined is well-matched. They outclass most of what you’re able to listen to when it comes to these genres post-glory days. At first a mesmerizing but gloomy appearance musically, quickly descending into utter hopelessness and then back again when hope shines eternal in the end. It’s one of those offshoots from this great label that make everything worth it, even if you can’t appreciate the level of experimentalism they work with.

It will be released on a limited edition 12¨ (of 250 copies) with screen-printed sleeves, as Enfant Terrible (ET053).

Tracklist (with previews):

A1 Concrete Tunnels
A2 The Role Of Iron

B1 Wall Of Rubber
B2 Negative Spaces

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Staatseinde – Neue Zyklus

The débutantes with the name of Staatseinde present their first EP, 6-track strong, with the same playfulness as ever but wrapped in a more serious and sinister tone. It brings back the more emotional side of electronic music as it is fine-tuned to our heart’s delight, relying on the more basal human needs musically as they churn out melodies upon melodies, with no strings attached emotionally but a hell of a lot invested when it comes to the listeners attentiveness.

If you thought the a-side wasn’t weirded out enough in terms of experimentalism, see the other side (b-side) for that almost pop-oriented edge and electro-pop vibe that brings out all the ghoulish tendencies of their sound. Yes, one can very well hear the influence of Welle:Erdball on some of these tracks, if they had a screw loose and were more pleasurable then their latest albums. Staatseinde’s earlier releases will remain the favorite for now but this release is worth checking out for the sole reason that it is Staatseinde.

It will be released on a limited edition 12¨ (of 250 copies) risograph printed sleeves, as Enfant Terrible (ET054).

Tracklist (with previews):

A1 Min Min
A2 Kosmos
A3 Darling

B1 Just Chaos
B2 Volar
B3 Yedo

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Garçon Taupe – The White Spider

This is a release I myself would get only because of the aesthetics of it. It has a wonderful schismatic feeling to it, the contrasts of it are also wonderfully pleasant in a gruesome kind of existential manner – perfect for Autumn and the coming winter. Garçon Taupe is new for us here at Repartiseraren but nevertheless as it is an Enfant Terrible and Gooiland Elektro release, we’re sure we’ll be somewhat in awe. It is a completely dutch affair it seems, having only had some of their tracks released, by the label Narrominded.

It is a very quirky sound. You either love it or hate it, think it is enigmatic or simply an annoyance. One can’t deny that their sound is somewhat unique in a way. For the acid-lovers the b-side will be a huge surprise and it slowly grows on you, as the beats pace along fast enough for ones limbs to awkwardly match themselves to the rhythm. The last song on this record holds an especially groovy beat which is poisonous to say the least.

As a joint operation between Enfant Terrible and Gooiland Elektro, this release will be on limited edition 12¨ (of 200 copies) with screen-printed sleeves, going under Enfant Terrible (ET055) and Gooiland Elektro (Gooiland 30).

Tracklist (with previews):

A1 The White Spider
A2 Roll The Dice

B1 Crevasse
B2 Retreat

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.

 

 

Reviews: Multiple Man – New Metal, V/A – Strategies Against The Body Vol. 2

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Here comes a double track-by-track review of the newest releases, courtesy of DKA Records, based out of Atlanta, Georgia. Their discography includes: Boy Harsher, Dylan Ettinger / Goldendust, Profligate, Fit Of Body, Warning Light, Voice Of Saturn / Anticipation, High-Functioning Flesh, Valis, TWINS and Women’s Work.

As of the 2nd of March they’ve added two new releases to this immense discography – the debut full-length LP-release by Brisbane’s twin-brother-duo Sean and Chris Campion, otherwise known as Multiple Man, the release goes by the name of “New Metal“. Strategies Against The Bodies have now been introduced as a second volume, featuring even more artists then the first compilation. In this article I dissect each song of both releases and tell you my opinion on them. The release was mixed by Matt Weiner (CGI Records) and mastered by Dietrich Schoenemann.

Starting off with “New Metal“, having listened through their other discography, including favorites of mine from Detonic Records – the “Guilt Culture/Boiling Down” double-single – it is fair to say that when introducing this new full-length they’ve grown a bit in my eyes considering the sound itself and the general aesthetics which are pleasing for the eyes as the cover itself (created by James Stuart) reminds one about earlier industrial-releases in terms of appearance. You get a sinister and chaotic feeling in terms of the colors when they mix together, outlining the appearance of a seemingly distraught and/or desperate man. The font is also alluring and you basically get it right if you think the release has anything to do with body music or industrial music.

As the first song “Slow Code” is rung in by the scraping of metal, a violently underlying basedrum is introduced and on top of that a steady rocking beat – which together with other percussive elements mixed together – suddenly jumpstarts an electronic body music rhythm. It’s a pleasing synthesizer which develops into a harsher, more industrial-like anthemic kind of song, as outdrawn baselines and the overlying synthesizers make the rhythm multi-faceted – together with murmured vocals that add to the sinister feeling you get whilst listening to it. It is a somewhat catchy song that draws in a self-assuring vibe in terms of how bombastic everything gets after a while.

Even though it is repetetive in some parts, the soundscape itself morphs into something completely different the longer in it progresses. The chorus brings everything together into the theme of the whole song and what it is supposed to be and convey. It is a cold endeavour but at the same time it is not stripped of any emotions, as there is a whole palette of different feelings that you feel when listening to it. I feel alert, concentrated and inspired, on the edge tuning in.

If the first song was portrayed as anthemic, wait until you hear “Power Fantasy” – which starts with an off-putting “yoo-hoo“, to be smashed into your consciousness by one of the most perfect rhythms I’ve heard in this wave of new-body music. Everything about this song relies on the first synthesizer-rhythm and the percussive elements that are introduced. To add to the general heftiness of the song itself, the vocals together with additional basedrums create an enjoyable repetetive atmosphere which later on looms into a more atmospheric concentration of industrialized sound.

The sudden shrieking of the vocalist reapplies the stripped soundscape and reuses it to their heart’s content. Even after only having listened to the first two songs, one must say that this one – “Power Fantasy” – is something really special. Whether it is the retro industrial feeling that weighs in when all the beats collide, or if it is their special brand of it, is hard to say. But damn it is a really catchy song and even though the lyrical content might be unintelligible at times – the simpleness of it adds into the harsh emotional deliverance – which they manage to do perfectly. It is a jaw-droppingly good song, once you’ve listened through it way too many times.

Now with the next and third song on this release, it is less concentrated to harsh rhythms and electronic body music and more pure electronica with minimal synth weaved into it – I am, of course, talking about “Luxury Boys“. There’s a certain primitive vibe to the song even though the synthesizers, baselines and beats together concoct a swaying and interesting blend of these different forms of electronica. It feels dated, like something out of a time-machine, yet remarkably attached to the modern world as such. However, it would fit great in an alternative movie from the 1980’s.

At times the atmosphere feels like something exotic, especially when you hear the percussion and the main synthesizer which steadfastly creates a memorable thematic, which you end up portraying in your head. It is audio-visually a really great song, however I’m more impressed by the harsher side of Multiple Man. Though they’ve managed to, in their song, convey a more laidback alter ego – musically.

Skin” – their fourth song – has that same kind of feeling attached to it like the previous song. It seems like they’ve changed the general theme of their songs, as it progresses from the first and second, to the third and the fourth. It develops lyrically as well and becomes some kind of acid electronic bastard child of industrial music. When the synthesizer revs up to show its true acid colors – one is intrigued by it since it adds a whole different characteristic to the song itself – alongside the vocals that are unenthusiastically chanted and feel like they’re just being dragged along for the ride.

It is probably one of the songs up until now that have the best vocals in them. It adds so much more to the experience of listening to the song as well as the development of the soundscape as it accompanies the different influences and rhythms perfectly together. Though it might be added that the song in itself is impressive in many ways, it fails to attract any further emotions when listening to it, as it is only brought out when everything is brought together in an almost cataclysmic fashion.

Returning to the pure electronic body music with the fifth song “Negative Space” – an ominously sounding piece. A continously pounding rhythm attached to a gloomy atmosphere, feeling more like an intermission then anything else. One can’t help but feel left to the metaphorical clock ticking in the form of outdrawn synth-stabs. Somehow the electronic body music elements are of not the same importance as the more atmospheric aspects of this song. The continuity is what defines it all. It just keeps going.

Maybe this might be the dividing line that will shift the musical focus to something else or it may just be a filler for the filler’s sake. Usually, artists and bands have one of these kinds of tracks in their repertoir, in the case of Multiple Man – this song stands out from their others and in a positive manner as well. Reminding oneself about the shifting character of their sound and what they might be able to accomplish, and want to accomplish with their music.

Hotter Then Hell” is the sixth song on this neverending ride of different, excitingly fresh electronic body music with industrial vibes. This song is probably the most sublime of the bunch so far, it has got a really ambiguous vibe to it. One negative thing about it is that it is also the most boring song in terms of the soundscape, as there’s not much happening and it is not as upbeat as the other tracks. Nothing wrong with a downbeat track but this one doesn’t really cut it for me.

Ideal Self” is where it is at. It’s been tried with the other songs but it has got a funkier vibe then the other ones. The atmosphere is really wicked and the rhythm goes up and down like a jojo, embracing the more danceable elements and turning it around for them now later on in this release. It is really all about combining the more unusual genres and turning it into the new face of the Multiple Man that makes it or breaks it in terms of this song. Groovy is what characterize this musical experience the best.

Interestingly enough, as the song fades out and turns into “New Metal” – they’ve decided to put this title-track last on the record. Really a perfect summarization of what they have achieved during this eight-track long release. Even though it lacks everything that made the first few songs great it combines everything one’s heard so far into a mixture of the weirdness and the high energy electronic body music into an acid and industrial rollercoaster which holds up in the end.

I say that only because the rhythms are on point and this song is basically what you should’ve listened to first if you wanted a summary. My thoughts about this full-length debut-LP on DKA Records is that it brings something odd to the table and spins things around completely out of your own safe-zone. You must have taken a liking for electronic body music transgressing into all kinds of different music genres, plus the experimental edge in which Multiple Man hold their territory firm. Although some of the songs are a disappointment, not all of them need to be as good as “Power Fantasy” to hold up in the end. The more you listen to it, the more you enjoy the self-willed nature of this duo.

Tomorrow this article will be updated with a track-by-track review of Strategies Against The Body Volume 2. You can stream Multiple Man’s release “New Metal” down below and make up your own mind about it, but from what I’ve heard throughout the songs – they’ve surely got potential that enrich the DKA Records discography further.

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A follow-up to the 2015 compilation “Strategies Against The Body – Volume 1” have been released via DKA Records. Featuring a whole different roster of artists, containing various electronic genres, all derived from the so-called underground. Some of them more established then others. The cover for the release is very aesthetically unpleasant to lay one’s eyes on but is a reflection of what you can anticipate when listening through this compilation of artists.

Pyramid Club is the first artist and one must say that they’ve got a whole lot better songs then this one. It’s a freakishly monotonous song that doesn’t really cut it. One doesn’t really feel anything when listening to their song “It’s All Grey” – the atmosphere that is there is off-putting and doesn’t do them justice in terms of their discography, otherwise. What saves this song is the latter part of it beyond three minutes in, when the vocals go into a howling frenzy and the basedrum lunge at you as if it had gone berserk.

I really want to like this song but can’t really fathom it. Melodically it is odious and it doesn’t even give the tag ‘experimental‘ body music any revitalization. Repetetiveness and experimentalism can give you a whole other insight into what electronic music ultimately could be about – but here they just fall flat with their brand of it. Very unfortunate for anyone who’s fond of Pyramid Club’s current discography of demo-tracks with lots of potential.

Now on to Passing, who’s song “Sacrifice” starts off rather intriguingly with that bass-filled melodious atmosphere which bounce around in infinity together with acid influences as rambunctious electronica pushed to its limits. Then, suddenly, the vocals are introduced into the mix and one is instantly taken out of the mesmerizing sound – because they lack the punch and the guts which the rest of the soundscape perfectly molds into – overtime. It adds absolutely nothing that progresses the atmosphere even remotely. It would even be better if it was wholly instrumental instead, unfortunately.

All-in-all, the song itself has one hooked to the beats, rhythm and melodious extravagance. There’s a sense of emergency in the overall expression it gives, the fast-paced lunging, acidic body music with electronic overtones – masterfully executed, instrumentally at least. It’s got the perfect length as well and you can never get enough of the simple melodies that together make something out of nothing, adding complexity together with the percussion.

What never tires me is the special kind of desperate brand of electronic body music that Celldöd creates. He can make something out of nothing, it sounds huge no matter what he attaches himself to and the atmospheric feel of “Hemliga Rum” is made alarmingly brutal with his vocals alone. A hiss here and a hiss there, a steady acid rhythm with a baseline that seems to get harder the further into the song you get – the echoes of the vocals, making one uneasy listening to the song – all that is there, in the vast nothingness that he portrays – follow him into the secret room.

Imagining that it would be some kind of abandoned house or industrial setting, together with the lyrics in Swedish repeatedly saying “Take me with you, I want to see what you see, into secret rooms“, as if he is desperately clinging on to something – the deliverance is absolutely on point and adds much as the snaredrum hit is industrially enhanced by sounding like he’s hitting on a metal object – which in reality, maybe he is. It adds that extra portion of the atmosphere which would otherwise be lacking. In the end a very good song which leaves nothing to imagine, audiovisually he puts images in ones head.

Continuing in basically the same manner as the other songs, a kind of acid-inspired baseline together with melodic noises, Spatial Relation‘s song “Infinitely Wary” is now playing. I don’t really know what to say about Lissette Schoenly’s vocals – but it fits very well into the atmosphere created by the synthesizers and percussive elements – though it really does nothing for me while listening to it. I feel no emotions, it just feels like one has to get through it to get on with listening to the rest of the compilation. This brand of electronica hasn’t really gotten me interested, which is a shame, since they repeat what Pyramid Club did with their introductory song to this whole compilation.

When one has listened through the song a few more times, one finds it to be somewhat alluring – though it can’t be explained, really. There’s something avant-garde about the approach to the whole song and how they utilize the different elements of it, how it gradually progresses and how it finishes. There’s a little redemption in the form of the atmosphere as it grabs onto you in a weird way, the electro-vibe and all, which is odd to say the least but hey.

One of my favorite projects since “The Red Dress – Parts I/II“, James Andrew’s own Tifaret, is featured on this compilation as the fifth track in a total of ten. The song “Lara” interesingly enough sounds like “Keep On Driving” (one of his other songs) – the difference is if Andrew Eldritch had a son, James Andrew would be his. Their vocals are really alike and one feels like he’s drawn a little bit too much inspiration in his song-making from The Sisters Of Mercy’s front-man. It is, however, not pastiche – the atmosphere is nice and the beats are on point.

Melodically it must’ve drawn influence from his earlier song but it doesn’t really matter. This is one of the better songs I’ve heard on this compilation up until now. Hopefully this is the one that turns it around and introduces one to some equally as great songs. It should be released simultaneously as this song, as it feels like a variant and lies really close in the whole soundscape and if it weren’t for the different melodies, more emotional vocals, it would almost be identical.

Suddenly, awestricken, in a good way. Anticipation flies into your ears with that subliminal, brooding electronic body music that has a groove like no other – talking of course about the song “Photograph” – which together with samples and a rhythm out of this world is gradually making one reconsider what one’s written about the compilation in general. Now we’re talking about some serious electronic music, whose atmosphere makes one dance along to it and is catchy as no other song – currently on this compilation.

One does not mind the repetetiveness of the beats as it slowly develops over time, introducing small but noticeable changes in character which enhances the whole experience of listening to it. The continually pounding sub-baseline pushes the beats further into the forefront of the mix – and there’s never a dull moment listening to this song. Thankfully, maybe there’s still hope for the compilation in large as we proceed.

SinceGhoul” was released in 2016, Videograve have been out of the loop. Now they’re back, on this compilation. The melodies in their song “Dead Men Floating” are equally as sinister as the title of it. They’ve let the melodies be at the forefront of the atmosphere and the beats plus percussion in the back, giving off a resounding and reverberated no-nonsense sound. Videograve are one of the more interesting acts that have emerged the last few years when it comes to electronic music. They have an authentic and goddamn awesome sound. Electronic body music gone haywire, electronic body music developed from a general minimal electronics waypath – never straying away from originality.

This is my favorite song so far on this compilation. I’m very impressed in general. There’s nothing to complain about, it is a really enjoyable song to listen to and there are so many facets of it that you’ve stopped counting. They really portray a sinister picture – a rather picturesque one if one may say so – audio-visually aesthetically pleasing, if that makes any sense at all.

Now for something a lot different. Collin Gorman Weiland’s song “Indenture and Stone” – monotonous industrial techno, with minimal wave influences. A very bleak song in terms of the atmosphere, very heavy when it comes to the industrial side of it and something that brings forth a whole different sound on this compilation. It is noticeable that the end is near whilst listening to it, the very apathetic vocals and the grinding percussion that seem to have no end to it. Draining energy from every outlet where there’s even sound.

There’s an anti-upbeatness to the song, it is downtempo but tries hard to be upbeat. Looming on as if nothing ever mattered, ending rather beautifully and very unexpectedly – turning into an ambient piece that gives one inner peace while listening to it. A welcoming addition to an otherwise interesting and never-ending seance. Had the latter parts of the song been developed even further, there might’ve been a nice blend of ambient industrial and the harshness of the song itself.

Ninth song on the compilation is by ARIISK and is titled “Candid Machine” – which is one of those songs that never develop into anything. It would’ve been better if it had some progression worth to mention. All this experimental electronic body music is making one’s head spin. There’s nothing about the monotonous approach in rhythm that gives anything, it just feels like a piece that is stuck in the same rhythm and melody without ever ending or transforming into anything good.

There’s a continuous lack in the atmosphere itself that isn’t repaired by the beats nor the progression of the song itself. Not to mention the vocals – it doesn’t add or bring anything out of the atmosphere. Even though this song might be meant to sound dark and provoke some kind of emotion, there isn’t any. It feels like one wants to skip the song and head onto the last one, there’s few moments that attract any noteable attention.

Xander Harris delivers the final song on this compilation, titled “Social Leather“. When pushing play on this song, there’s a wondrous tone coming from the melody. It feels like you’re high above the clouds, or that you’re way out of your body and somewhere else. It has a dreamy touch to it and the vocals expand on that subject. There’s an electro-vibe to it vocally and the atmosphere is absolutely phenomenal. There’s a transgression between different electronic genres that he executes flawlessly.

Being the final song on this release, it makes up for other moments experienced while listening to the compilation. One must say, to DKA Record’s credit, that it is a compilation that has some kind of sense of purpose when it comes to the assortment of different artists – too bad that it doesn’t go the whole way in terms of how good that, in theory, should be. I must recommend it any way, because there are certain moments on this release that are enticing. Stream the full release down below on Soundcloud.

[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.