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.
Pseudo-fetishism, new beat, guerrilla warfare through electronic beats and an obsession about Mad Max, 80’s-90’s thrillers and action movies. Hear how the wastelands of degeneracy crumble into one act, Toronto is beyond rescue and I feel like Travis Bickle wishing for the rain to wash away all the filth. This is the first EP by SARIN, a shady act transgressing into “Rotten” – which basically sums everything up. With a heavy dosage of samples from everything you could think of, together with harsh electronica and whatever sub-genre most fitting for the song, synth-pop, electro and electronic body music is channeled within the landscape of sound that build it up from the ground. I’m not too amused about the connotations about drugs, filth and complete lunacy that it gives away. But threading in the middle-ground and almost entering industrial cannot be a bad thing. Especially not when the synthsizers stab and you find yourself enthralled by the rapidly changing sound. Taking in everything from the influences and throwing it out the door again. Not to mention the rhythm which stops and goes as it pleases, much like a puppeteer using his threads to make his subject (you) be in touch with what ever message SARIN needs to get through. A lot of the tracks on this release are hypnotizing, some are completely ridiculous but get back their steam when they change the direction they’re heading in. It’s all really confusing if you’re not into it from the start, or know anything about it to begin with. But fear not, just try to get into it in whichever way you see fit.
Deth Records seem to know what we’ve been missing out on from Toronto. With this new release, the third in a row from this label – they explore yet another dimension of what makes them great – which is the sheer originality their acts display. Even though one could say that they pick and choose of what they’d want to imitate, in the process of doing that they create something unique. There’s a certain kind of vibe to everything which comes out of this hellhole called Deth, but it’s a place you’d want to be. So I’ll keep a close eye on the different releases that will continue to flow through. If you haven’t already, you should also check out the other releases, like “Semblance” by Vierance, or the first compilation titled “DETH Vol. 1” which features everything from HUREN to SINS and beyond. It is a release to get started with. Now listen to “ROTTEN” down below and stream it however many times you wish. If you like what you’re hearing, consider buying the limited cassette before it is sold out.
After having spent my days in another country, on an island, I listened very much to what I got handed to me by Keluar. This was some time before “Vitreum” was due to be out on Desire Records, so that’s precisely what I was listening to. The combination in arms between Sid Lamar of Schwefelgelb and Zoé Zanias of ex-Linea Aspera is such a damn great collision of the best of worlds. Now they’ve just put up their self-titled album release “Keluar“, which combines their both EPs “Ennoea” (the first) and “Vitreum” into one – alongside two bonus tracks “Cleo (Soft Riot Remix)” and “Coralline (Distel Remix)“. Which is a joint release that was also put out by Desire Records. When it comes to their sound, I believe that I am in love. The craftsmanship that both of these people enjoy is formed into a luminescent landscape in a combination of minimal synth, wave and the experimentalism that they themselves put onto it. If you combine that with the strength in melody that new wave gives them, you’ve got a dreamy landscape which shapes the forthcoming lights that shine upon your face – as in a kind of religious experience. Every little detail that is chiseled out is part of a wider array of magnificence. Most of the songs are actually of that caliber that you’d simply want to listen to them over and over again, remembering each tracks unique character. With a little help from the new-beat meets darker electronic body music (but really not), they channel our darker sides and manage to shape a current of volatile electricity that is about to snap and crackle, but then suddenly something else enters the landscape of sound and circumvents that intention.
The lyrical content of this album is also astonishing. Everything blends in well with the form of vocals that Allison Lewis decide to deliver. Sharp contrasts in between outdrawn sighs of lyric content to the almost despaired cries of misanthropy. With the ambiance that creates a shroud of mystery around it, her voice pierces the bubble in which the shroud is covering – showcasing the naked truth from inside – with her clarity and deliverance that signifies what she’s all about. She’s in for it all and can’t wait to strike you down when you least expect it, whether it might be after a crescendo of electronic beats or the suggestive atmosphere delivered with a percussionists precision. I urge you all to buy this album if you really like it, because it might be one of the best albums since Distel entered once again and got their album “Ultra2012” put out on Beläten. Giving me a grip once again to embrace electronica that has that experimental touch and can deliver what it is said to, or even more than what I’m introduced to. You can listen to “Keluar” down below.
In Brooklyn you find a band that has its roots down under, but above the ground they reside with post-punk overtones. With their interesting combination of metal, experimental rock, post-hardcore and post-punk they make way for who they’ve become. Since they haven’t been around for that long, let alone put out anything besides their newly released “Make Room For Waves” EP, it’s great to hear something fresh once in a while. With this comes Husbandry, whose singer sounds like somewhere in between Katzenjammer Kabarett‘s original misanthropic tone and the rather mesmerizing moments with the band reliq. Together with the breakdowns of pro-longed post-hardcore junkies caught in a time-machine. The band itself consists of Carina Zachary, Jordan Usatch, Arnau Bosc and Andrew Gottlieb. The fascinating thing about this release is that it was recorded during a weekend back in April this year, which makes it about a month later that they’re releasing it for the world to listen to.
So I got the opportunity together with Husbandry to put out one of the tracks from this release, on Repartiseraren. The track wasn’t really chosen by me to begin with, but I think it’s their best track on this release by far. Because in it they showcase the greatness of structured post-hardcore with post-punk baselines that soar through the landscape, together with erratic drums that keep the tempo to a max. Just as they come into some kind of weird medley whereas Carina Zachary with her vocals make it an endurable process to listen to, as it moves back into the sound-scape which they created before. Moving back to the intermezzo once again in another part of the track, making it a very predictable but at the same time unpredictable track. I simply adore the melodies that are laden before me when you’ve taken yourself through it, together with cluttering hi-hats and complex rhythms howling in the background as the vocals feel even more dedicated and soulful. The track chosen for exclusive premiere was “Biralata“, a six-minute long song which you can listen to down below. If you’re interested in buying their album you can go to their Bandcamp.
I found a rather anonymous label which is situated in Terre Haute, Indiana. The American label that I found is called NO! Record Label and is hosting itself on Tumblr, giving off a rather secluded interior for me to find mysterious. All the better, because it leaves much to my own imagination. This mysterious label have released two releases before those that I am going to cover in this spotlight. One of the releases are of Drekka and Assimilation – a kind of live re-work of each others live performances – but also a late introductory for me to Michael Andersons brainchild Drekka. This was actually the first release to be put out on this label. The second release was a compilation featuring the artists Drekka, NOON, John Flannelly, Canid, Assimilation and Agakus. Featured musicians working in the Bloomington, Indiana area, described by the label: “a collection of tracks that represents the loose circle of musicians that play weird electronic music together in basements, coffee houses, and bars“. But the two releases that I’m going to cover here are Dry Socket and in the second part; Ray Creature. This is the last part and it features Erich Booth and Natascha Buehnerkemper, known as Ray Creature. Let’s see if you enjoy it.
Ray Creature. The fourth release on NO! Record Label is “Don’t Stop Talking EP“, featuring four tracks. Lo and behold, what I find is one of the finest examples of what can be done with post-punk. Combining it with the wide-array of genres like dark wave, no-wave, synth-pop and a rather odd experimentalism is the way to go. The fact that Ray Creature is a duo is mind-boggling, because they sound like they’ve had a whole band and that they just quit after this EP due to the difficulty of conveying such a sound. Such a huge sound is being created by two people. A shady sound, with funky undertones of the baseline and the general feel of it is somewhere in between the bizarre and the ingenious. Unfortunately all the steam goes to the track “Don’t Stop Talking” which is probably the best track on the release. After the haziness of the minimal synth landscape, which suddenly just shifts into some kind of disco-vibe mess, featuring no-wave vocals and a general sense of disobedience. The modular synthesizers are working hard on delivering the undertones of electronica to such a harsh example of the successes this band has, with experimentalism. After the first track which could be regarded as setting the theme for the rest of the release, it just delves into some kind of weird example of how the electronica doesn’t really cope with the weirdness of the atmosphere. There’s such a messy landscape of sound that you don’t really know what to look for. Too much happening at the same time.
Even though I know their ambitions have been great, they once again pick up where they left off the stream after “Success“, when we enter “Ripped Apart” – a totally energized maelstrom of the best synthesizers and up-tempo beat you could find. Cocky vocals at that, too. Don’t get me wrong, the concept of “Success” is good to begin with, but I just end up finding myself reminded about the melody – but in the way of that is the general anarchy that actually turns me away from that track to begin with. The last track seems to be a whole long intermezzo between catchy instrumentation, steady rhythms and a snare-sound that i find myself enjoying more than the general mood of the track at all. The vocals in this track is so good, but I don’t really enjoy the lyricism. Even though I have a lot of criticism to give, the general feel of the EP is great. It seems to be long in between when you hear about a sound that has taken off, then you listen to it and find out that it’s like something you’ve heard before – but not really in this format. They do a good job of pulling off the crossover between genres and fill it up with nice experimentalism. I must say that without the soothing but urgent vocals that Natascha deliver, this wouldn’t be as great of an experience as it really was. Enjoy it yourselves by streaming and listening to it here, down below.
Skön electronica som får en att slita av sin hatt och bara vara. En slags skön blandning mellan seriösare techno, house, och den lugnhet som ambient ger. Sort Kat Hvid Kat släppte nyligen sin nya EP som heter “I et væk“, som med fyra låtar gör så att man kan få lite utav den tilltro man haft för det genreöverskridande, tillbaka. Det man möts av som också sipprar igenom är synth-popen, för den rytmen som levereras är verkligen dansbar, men manar snarare en till eftertanke i och med den vackra sångerskans blida röst. Allt som hon sjunger läggs fram som om det är en del av musiken på riktigt och inte bara en bisats utav den. Hennes röst i sammanhanget låter precis som ett instrument, då det passar bra in med de lugna instrumenten, det lugnt gående taktfasta slagen – som för en till en helt annan värld. Tillsammans med kluriga synthar som mest verkar vända runt i bakgrunden och komma tillbaka när melodin slår till som starkast, eller när refrängen börjar gå igång. Utsökt elektronisk musik som var man och kvinna borde lyssna på. När man lyssnar väldigt noga så är det svårt att inte följa med i flödet, eller i stämningen som de har skapat i och med denna EP, eftersom att det känns som musik man lyssnar på vid en hjärtesorg. Eller när man helt enkelt måste vara för sig själv och tänka. En slags intelligent blandning av alla dessa genreöverskrivande elektroniska subjekt. Ni kan lyssna till deras släpp här nedanför. Jag rekommenderar det sannerligen. Fyra låtar som kommer att föra er till en helt annan dimension, en bättre sådan, en mer känslosam sådan.