How can not a cold room be a metaphor for the state of your heart? It is when ARM extends himself for a jab at creating a debut-album by the name “Enheartened“. He came from nowhere when he got entangled in anger, letting his synthesizer create a graveyard where the bones of skeletons—are metaphorically used to bang loudly—on tribal drums coated in industrial waste. The melodies are gloomy and not so delightful for the ear, but in a way the chorus have a cheerful tone amidst the atmosphere of doom and haze. With his EP “Bloodbeat“, everyone including us seemed to wonder who this might be and we had no idea until Thomas from Beläten revealed in his presentation, press-text, that it in fact were Dan Serbanescu (Alone In The Hollow Garden/Tanz Ohne Musik). It’s a fresh cut from Pure Ground and Believer/Law, stripped down and put together in Serbanescu’s own imaginative ways.
We must say that his first release was melodic in a way that his forthcoming album isn’t. This one’s more stale and focuses logically on the rhythms, shaking you to the core with his cold-blooded disheartening whispers. A lot more ambition went into conjuring an atmosphere that make you freeze with fear. Reverberated, disgruntled screams and a looming beat – with charred manipulated sounds – wreak havoc as his vocals are present – until distorted away further to ambuscade—waiting for the perfect time to strike. How are you not reminded of The Shining when you hear this? It seems to be a projection of Jack Torrance’s deranged mind. A chilling observation and not something you would like to have in your head. We applaud ARM for masterfully creating such an aversive and frightening sound-scape. Not our cup of tea to be listening to on a daily basis, only to get that first impression of what it actually is.
So in collaboration with Beläten we unleash “The Coldest Room” – a track from ARM‘s forthcoming debut-album “Enheartened“, for your listening displeasure. We find it to be a summary of what horrors you might expect once you’ve put it in your cassette-player to listen to. You could say it’s his anthem for the new guise of how he’s changed his sound, just the slightest bit, to stricken fear and bad feelings into you folks. We say you listen with caution and if you’re interested in industrial music, morphed with synthesizers and a noise-overdrive – this might be the release for you. Stream the song exclusively from Repartiseraren and share this article from our Facebook-page – so you’re able to be one of THREE winners of a download-code for this whole album.
Det är inte varje dag som två av den svenska underjordens väldiga banbrytare möts i en och samma låt. Särskilt inte när det handlar om synth-pop, även om det med vissa undantag har existerar förut. Men det här är något helt annat. Det var ett bra tag sedan något höll så hög klass, att man bara kunde skriva under på det — med silverpenna på ett tomt ark. På Agent Side Grinders kommande EP “This Is Us” så är de så avklädda de bara kan bli, till stor del på grund utav att de gästas men även influeras av Kite som bihang. Fast egentligen känns det inte som att det är dem som figurerar i bakgrunden, för det känns som om deras ljudbilder flyter samman — eller så är det bara en kvarliggande fantasi man har, sedan man lyssnat till deras inhopp och tyckt om precis allt. Allt som händer känns äkta, men det enda referensmaterialet man får är med titelspåret och med den låt som kommer att ha världspremiär här på Repartiseraren. Två låtar är ju remixer och det kan man ha olika åsikter om, men det är inte precis där jag lägger mitt fokus — denna gång.
Dock är det läpmligt att nämna hur rätt i tiden detta ligger. Bägge planerar nämligen sina egna stordåd, för både Agent Side Grinder och Kite planerar att släppa nytt material nästa år. Då är det perfekt att de verkligen samarbetar på en låt så att det blir en slags försmak inför vad som komma skall. Den låt som Repartiseraren har fått äran att ge er att lyssna på exklusivt från detta insignifikanta lilla blogg-zine, heter “Beloved Fool” av Agent Side Grinder och där gästar Kite. Låten är en väldigt intressant sådan eftersom att det känns som om två ljudbilder samsas om att överta varann, men där de istället fungerar i perfekt symbios tillsammans. Det är inte direkt en ödeskamp om överlevnad, utan snarare en slags fröjd; där seriositeten letar sig fram någonstans mellan lagren. För det är trots allt en förnöjsam låt där lättsamheten bär tonerna längs en kavalkad som lyser upp den mörka vinterhimmeln med värme. När man närmar sig slutet mot året kanske man inte direkt är tillfreds, men till tonerna av “Beloved Fool” så lättar man på sitt missnöje och intar inte direkt rollen som Farbror Scrooge. “This Is Us” släpps av Progress Productions den 26:e November. EP:n spelades in i November, mastrades av Henrik Alsér från Svenska Grammofonstudion Mastering, skivomslag och konst skapad av Kristoffer Grip.
Never have experimental pop been so experimental. This feels like an edge towards New Zealand, anchored in the depths of Dunedin, in good company with no-wave pop-experimentalists Opposite Sex. But instead of forming a group, Theresa Stroetges uses her multi-instrumentalism to forge thoughtful and sincere landscapes of sound with her semi-acoustic emergence. Theresa goes by the name of Golden Diskó Ship – a solo-project that is about to venture out on the deep blue sea, unleashing her second album in November. Going on untamed waters seems like something that would happen on the get-go for her, because of how natural everything feels; while listening to her music. Having already made a mark with a track on the compilation “City Splits #1” and one on The Wire Trapper’s June 2012 compilation, it’s safe to say she knows what she’s doing – and she actually did – because her debut-album came not long after that, titled “Prehistoric Ghost Party“, recorded at the legendary Faust Studio which is Hans Joachim Irmler’s (Klangbad) workplace. She’s also got two EPs released earlier, so now one should hope that she’s nailed her own sound.
The second album is in a world of it self. There’s such a likeness to the different sound-scapes, the soothing melodies and sometimes rhythmic progressions that never leave you with a dull moment. A thin red line goes through it, connecting dots between each track and keeping it both thematically interesting and coherent. There doesn’t have to be any incoherence when it comes to experimentalism, not with Theresa’s wonderfully composed tracks which are out-of-the-box musically – but theoretically keep a sharp line that divides each track musically and topically. Repartiseraren has gotten the honor to exclusively premiere a track from her forthcoming album. The album is titled “Invisible Bonfire“, and the song of our choice was “Say Goodbye To This Island – Over And Out“. There was a thought to feature “Swan Song“, but it’s the last track on that album and we think that the aforementioned song has a bit of everything from the album. So here you go, enjoy the first publicly available track from that album. The album will be released on Spezialmaterial Records on the 25th of November.
Three releases on the same year ain’t bad for a duo. Nick and Nastya are two audio-visual artists based out of Moscow, that have released three EPs to date, one being a remix done for their track “I’ll Be Found” by MXXN, Sidewalks and Skeletons, Feki, Tyler Tastemaker and PrayForYourself. A track featured on their debut-EP titled “Substances“, which they had released by a label called STYLSS. What’s interesting about this duo is that everything you hear and see is made by them, as you can experience every medium you’d ever need to appreciate them. Mixing digital audio with analogue, to create their nice blend of untouchable witch house and hard-hitting bass music. Two genres I rarely appreciate, which these two have changed my opinion on – but only in regards to what they’ve been putting out. Now they have a third EP, or second – if you want to count it by original material.
So this release is titled “Vacuum” – a perfect description for their artistry on this release, by the way. You can’t help but adore the sincerity which overflows throughout their blend of steel and fluff. A balance of Yin & Yang, an experience that is captivating and showcased with the first track and it never really stops. No moment is a dull moment. It’s amazing how they fit you through their hourglass and decide what kind of time you’ve got left, because they’re in complete control of your senses. It can be hopeless to fall so quickly for a release, but it has really happened and it is hard to admit when confronted with genres that are often so banal. Nothing here is banal and it hooks you immediately. If I had a hate and love relation to Grimes, I have nothing but love to offer IC3PEAK. You can download the whole album digitally for free, but also order a physical CD, limited to 50 copies, from the label Stellar Kinematics – now!
Time for your daily Spotlight. It’s been lacking from my side, since there’s been a lot to cover when it comes to exclusive premieres – but not much when it comes to regular bands that you stumble upon – or artists. Since it’s been a long time, I want to introduce two of the more peculiar acts that I have found when scouring the internet: specifically Bandcamp. One of the bands are from the UK and the other is from Spain. ZX ELECTRIC is a band that plays weird krautrock with the occasional stab of minimal synth and post-punk, whilst Asesina are the Spaniards whom has a singer that really can’t sing – but all the better that he can suffer, because that’s what it’s all about – it seems.
“Negative Outline” is the latest release that ZX ELECTRIC can offer to the world, having released two other albums earlier, titled “Obsolete” and “Fixed Unknown” – a rather odd blend of genres that shouldn’t be mixed, really. But there’s something about the latest album that signals to me that they’re serious. How can you even manage to fit in krautrock with minimal synth? I get that it can be applicable when it comes to post-punk, but not the other way around. However, they manage to create a rather melancholic image which they spit upon, managing to fit a semi-acoustic environment somewhere in between each track. I like the singer’s voice, it’s sincere but rather goofy at times. All the better then – that his rhythm is intact and his groove is where it should be – when the synthesizers slowly grace him and fill up the sound-scape. Not to mention how cold-wave helps to keep the semi-acoustic trance to a pleasurable level, where you just nod your head to everything you see around you.
What striked me when I browsed Asesina, were their marvelous aesthetics. The slick lines that are pleasing for the eye to watch, alongside a rather odd – almost dragon-like – goose that feeds her youngin’. Maybe this has something to do with where they’re from in Spain, or maybe not. I, however, really like the way this becomes their insignia. Enter bleakness with “EP“, their first release. Together with the bleakness that appears through using black and white. When it comes to their music, I must say that I don’t know if I should hate or adore the singer. He can’t sing. But thanks to the psychobilly, surf punk or whatever they’ve mixed together into a mish-mash of difference and alikeness – his voice gives a touch of severe angst that doesn’t go away. The best thing about it is when he screams in his own language and I don’t really get anything. I don’t really want to know, either. Noise rock goes well together with every other genre they’ve plucked asunder. The good thing about it is how their low-keyed sound-scape makes you wonder when they’re going to step into black metal territory, but that really never happens – full-scale. A good listen to anyone whose interest lays in any of these more obscure genres – especially when mixed together.
Out from the blue comes Soggy Creep. At least for me, I had never heard of them since I got an e-mail about the band. Carrying members from different bands like Bone Sickness and Criminal Code, one of them being Avi Roig (ex-It’s A Trap), the Pacific Northwest comes out strong again. Having released a demo ten months ago, completing their first EP just now – six days ago. What makes them strong is their output which they’ve decided to put in the dark punk category, where the baselines darken and a gloomy, almost death-rockish sound seeks it’s way through the cracks. The sound is almost like a dysharmonic skate-punk sound, if you strip away the general cheesyness of it. The anti-skatepunk (or rather, pop-punk) with overt melodious content. Sure, there are melodies that will make you question it – but you don’t really have to – because they’re layered nefariously, showing off a slow but in general tempo-clutching decay. Other tracks are faster, but what makes you twist your head in agony is the atmosphere they create. There’s enough punk in there to make you shout, but complex enough to not make it too simple. The thoughtfulness that sear with the harsh riffs are complemented well by a singer that never goes out of his way to cement their sound, he keeps it on the lowdown for the atmosphere to shroud everything else. Even though he’s a central part of it all.
It is an EP that is well worth listening to and it is a breath of smelly air, for once. Though much of their sound is carried in their instrumental parts, there isn’t much there for you not to like. Enough authority to make you not question it, enough sincerity to be able to pull this off. I’m hoping the Olympians are ready to take it one step further and enhance their sound a little bit more, but it is a perfectly good EP to start your seance with Soggy Creep. The name itself gives an alluring feeling to everything else, even though it should’ve been a bit more mysterious and not as creepy. But hey, each to his own. The release is available for digital streaming and hopefully they’ll release something physical, soon. Maybe it’s the run-up to an album – let’s hope so. In the meanwhile, stream “EP” down below.
When everything had settled through the eyes and ears of Hélène De Thoury, she launched a duo together with Amandine Stioui – whose voice had been a wake-up call for Hélène – she adored it. Since 2013 they’ve been working together on shaping their first release, which took them a few months to put out. This self-released EP, called “Blue Moon“, quickly gained a lot of attention and appraisal from those who found out about them. Although their sound can be found somewhere in between the minimal synth and new-wave categories, their rather complex structure and beautifully laden vocals make them unique to genres fond of taking it literally when translating a fixed category into something more. There is a large hint of minimalism in their sound, but all the influences they gather together shape a uniqueness which takes them away from traps that quickly become clichés. With their new-wave sound, enchanting structures and pinpointed melodies – affect you in all the ways they might want you to feel. From the year 2013 to 2014, they’ve worked on their debut-album and now they’re soon ready to unleash it as a whole.
The french label Desire Records are releasing their debut-album “Live & Destroy” will be released on the 6th of October. Before the release, they’re playing live at the french venue La balle au bond, on the 1st of October. On the 30th of November they will go on a tour, hitting countries like Spain, France, Germany and Belgium. I exclusively premiered “Agoraphobia (Album Version)“, a track which is what I consider to be the beating heart of their record. This track is so emotional and delivers a whole other insight to what minimal synth can sound like, when transformed by other genres which overlap or have less to do with a genre like synth-pop. I think it is their strength and it sounds like they’ve worked hard on every single track. Let this be the anthem that will carry you away and put you into the mood for listening to “Live & Destroy”. Look out if you want to buy it, because soon it will be available from Desire Records. Stream the exclusive track down below.