Listen: Keluar – Keluar

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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.

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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.

Exclusive Premiere: Husbandry – Biralata

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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.

NO! Spotlight: Dry Socket / Ray Creature! [Part II]

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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.

a3748909156_10Ray 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.

Listen: Sort Kat Hvid Kat – I et væk

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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.

Listen: extravague – L’Ombre d’Un Doute EP

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Ah oui, c’est incroyable,” I uttered. When you combine the melancholic aura that revolves around those pesky Frenchmen, since this gave way for the romanticism and coldness of cold-wave. It’s always surprising when you find the less atonal cold-wave, the wave that rides on a stringent melody. So therefore, when I looked around I came upon the group extravague –a duo consisting of two guys lost in “a hall of dashed hopes“. Before their first EP they released a live album with eleven demo-tracks, titled “Demo / Live in Empty Room” – which they recorded at home with only one microphone. This was three months ago, fast-forward and you’ll see the realization of their debut-EP which is aptly titled: “L’Ombre d’Un Doute EP” (Shadow Of A Doubt EP). A rather bleak example of what can be done when you combine the coldness of cold-wave with a post-punkiness, changing into a more new-wave styled phase which garner the wondrous melodies which they’ve carefully composed. There is actually only a small difference when it comes to how they’ve recorded this one, in comparison to their first release, because it’s also been recorded live with a microphone – but a hell of a good microphone at that – being able to pick up their music. But this time it’s also mixed into the wonderful sound-scape. You should listen to their release down below and stream it to your francophilic joy, or despair. Whatever you choose to do, it’s a great release that deserves to be listened to.

Spotlight: Weeping Rat – Forced Vision/Fractured Zones!

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Melbourne, Australia. As the sun sets, the Weeping Rat comes out to feast. Having recorded music under this name since 2012, with their first release “Blood & Fog“, a duo consisting of Jacob and Michael – slowly, over time became a whole group. After having released their second release “Empty Hearse/Funeral Train“, it took them about one year and a half to return with a track with the name “Light Of The Moon“, in January of 2014. Since those releases, they’ve slowly moved away from the rock-aspect of death-rock, having more of the atmosphere which can be conceived in such a genre – to their advantage – which in turn created a rather sense of urgency beneath a layer of coldness. This resulted in a double-EP released in the month of April. The first EP to be put up was “Forced Vision” and the second one was “Fractured Zones“. There is a noticeable difference with these two releases, as they stray away from the grittiness of the death-rock sound, paving a way for a death-industrial-esque trip between the living and the dead. Focusing more in “Fractured Zones” on the general landscape of sound being conceived with the experimentalist notion of decayed noise in a dark ambient landscape. Whilst the other EP, “Forced Vision”, focuses more on the rock’n’roll aspect – wishfully entering the same realm – but on different conditions. Which makes these two releases quite different, even though much of what they have in common is rendered, abysmally.

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Though a lot of their sound might have a few things getting used to, it doesn’t sound flawed at all, but rather delivers an intermingling of genres seldom expressed by the artist – into such a sound-scape. Brooding is the total industrial transformation of Weeping Rat. Giving away a uncompromising and outdrawn sound, a secret that is being unveiled when you listen to it, making you feel part of a darker adventure. It doesn’t really make itself that great in text when trying to explain the picturesque landscape of decaying rot that these Australians produce. But it is a milestone in their own discography, making it perfectly clear that even they can change their outfit for better or worse – into something that is so out of touch with their ordinary, by now; memorabilia. Stream both EPs down below and listen to it, so you can discover a whole other side of their sound.

Lyssna: Chicagojazzen – Döpt i snö

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Sedan det senaste släppet år 2013, då Chicagojazzen dundrade in på Zeon Light Kassett med släppet “Smittfebern“, så har han arbetat på nytt material. Detta var då hans senaste album och detta kommer inte bli någon fortsättning. Istället börjar han med något nytt hos Blodörn, då det istället för ett album blev en EP. En mini-EP vid namn “Döpt i snö“. Nu vet man inte riktigt om släppet blev mörkare för att det landade på den etiketten, eller om allting började dala ner i en slags virvelvind som precis försvunnit. Även om hans tidigare släpp har varit intressanta på sitt sätt, så är det inte så mycket som har fastnat på hjärnhinnan. Men tack vare första hjälpen rent estetiskt så ompacketeras detta släpp och blir ett med Blodörnen. Estetiken är mer tilltalande, för att den är mörkare. Likväl som de två låtarna som går att förhandslyssna på är dunkla och släpper av sig negativ energi. Mystiken tätnar när låtarna “Andas Damm” och “Västerhiske Blues” presenterar en Chicagojazzen i högform. Koncentratet har aldrig varit skarpare, eftersom att de två låtar som flödar ut i hörlurarna släpper ifrån sig lite av den meditativa ambient som annars varit dominerande. Det här är gräsligt på ett väldigt hemlighetsfullt sätt. Ett töcken av ljusstrimmor som försvinner när man in i gången beger sig. Där avsaknaden av ljus är det som är det inslag som man måste vänja sig vid. Ljudlandskapet rör sig sedan mot en mer bombastisk rörelse, som urartar på så sätt att det experimentella som alltid funnits mellan raderna får sitta på första parkett och sprida sig mellan de dunkla utfallen som greppar tag i en. För den som tidigare inte varit nämnvärt intresserad av hans alster, så är detta släpp något de borde ta till sig och lyssna till. Till och med en som sporadiskt lyssnat till den musik han släppt ifrån sig tidigare, blir tagen av det som levereras – med full orkanstyrka. Detta är Blodörn 6. Musiken spelades in i Umeå nu år 2014. Ni kan lyssna på de två förhandsvisningar som ligger ute av låtarna. Ni kommer inte att bli besvikna.

Premiere: Light House – In Their Image [Musicvideo]

The people of Light House, namely Dawn Sharp, Chris Relyea and Brooks Blackhawk, have been busy making their track “In Their Image” from the EP with the same name – into a music-video. With the help of Brooklyn filmmaker Jeffrey Richardson, whom have directed this video, and cinematographer Rebecca Steele – they’ve realized a totally symbolic, and picturesque landscape. Matching their song in a way that represents both the song itself, but also their intent with showing the visual elements of nature, as well as the cross that Dawn Sharp has on her garment. There’s a lot that the viewer will have to rationalize and take in, but it is inducing, hypnotizing and serves to make something more out of the track at hand. The looming heavy beats, the sharp atmosphere, suggestive filming – everything is important in compromising the song for what it might contain, and adding to the sublime nature of it. We get to follow Dawn Sharp in this music-video, in what I presume is a channeling of everything we’re missing out on. There are certain ritualistic aspects about the music-video, from the slowly fading clips of trees, vegetation, dew – the last-mentioned making you feel like it’s early in the morning, but still cold. It’s post-winter and pre-spring.

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In my interview with Dawn and Chris last year, they actually hinted that they were going to film this. In regards to the song “In Their Image“, Dawn Sharp outlined: “That song is really important to us because it kind of exemplifies Light House’s sound. We are getting ready to shoot a video for that song actually“. She also commented: “…we want to keep it a surprise but it will definitely include some Northwest beauty and filming at night“. This will, beyond the shadow of the doubt, set some things straight in regards to this music-video. Because some of the video is set in the early morning, and some of it is filmed by night. The most wonderful thing about the video is when Dawn Sharp comes into the picture in the beginning, and the music haven’t started yet. It gives you some kind of peace of mind, just to disturb you a little bit and get you into the song immediately, only sparing a few seconds of total calm. A video worth watching. Additionally, Dawn Sharp edited this piece together with Jeffrey Richardson, and she was also the stylist of this production. I will also mention Sarah Jane McKinley, who was the production assistant. They will also be finished mixing a new EP, when this weekend has passed. By the way, Dawn Sharp of Light House also mentioned that the re-presses of their EP is sold out over at Mannequin Records, but that they have a few vinyl-copies left of the first pressings – released by themselves. So go and get them!

Exklusiv Premiär: L’obscurité – Are You With Us? (7¨EP)

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Tidigare så har L’obscurité varit omskrivna både här på Invisible Guy, men även på en mängd andra ställen. Det var i samband med när de hade släppt sitt första alster “In Silence” på etiketten Ljudkassett!, som de passande nog även fick skina i rampljuset för en stund. Vilket de definitivt har varit väl värda. Tidigare så bestod denna grupp utav duon Tess Törner (Kamikatze, Black Feet) och Richard Folke (Boygirlme), men denna duo har utökats med en trummis, som de verkligen ansåg sig själv behöva. Denne trummis var ingen mindre än Fredrik Berglund, från The Scrags; det Stockholmska psykedeliska folkrockbandet. Denna rekryteringen gjordes eftersom att de ansåg sig vara i behov utav ett större ljud, och detta kunde därefter åtgärdas av denne man. Som bekant så “slog” de igenom med sitt första släpp och har sedan dess spelat live otaliga gånger, så det känns inte mer än rätt att de släpper nytt. Denna gång så har de bestämt sig för att göra det på sin egna, nyskapta etikett, vid namn Svart Ljud Rekords. Släppet ifråga är “Are You With Us?“, och kommer att släppas som en vinyl-sjua nu i Mars. Alla låtar på plattan skrevs utav dem själva år 2013, och de har även mastrat och mixat dessa låtar helt själva. Omslagsbilden som sådan har fotograferats utav Alexander Palm.

De som läser detta blogg-zine kommer därför ha den exklusiva möjligheten att ta del utav hela deras EP innan släpp, och där ingår titelspåret “Are You With Us?“, tillsammans med de tre andra låtarna “Memories“, “In Silence” och “Day & Night“. Deras intressanta blandning utav synthwave och garage rock har gett upphov till vad de själva vill beteckna som “garagewave“. En genre som jag åtminstone inte bekantat mig själv med, men som med deras totala apati utvecklas till en kraft att räkna med. Mörkret har bara tagit sig in över Sverige och landat i L’obscurité, som mycket gärna tar hand om denna onda kraft och använder det i form av häxkonster istället, då de melankoliska partierna fasas in med de energiska syntharna. Helt klart en grupp som man borde ha hållit ögonen på mycket tidigare, men för den som ännu är sömndrucken och inte vill slita sig från sin kaffekopp, så kan jag meddela till er att detta är mycket bättre än koffein. Det är en frisk fläkt, en injektion av något nytt i den annars så tafatta miljö som band likt dessa måste slita sig ur, från första början. Nåväl, nog om det, helt enkelt. Ni kan lyssna till alla låtar här nedanför, exklusivt på Invisible Guy. Köp även sjuan när den kommer ut, så håll utkik på deras hemsida.

1. Are You With Us? 2. Memories 3. In Silence 4. Day & Night

Skivbolag: Svart Ljud Rekords

Format: 7¨ EP

Släpps: Mars

Antal: 250 ex

Kim Sølve tells us about the Kids’ World EP!

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Blitzkrieg Baby have been featured here before, as well as a more personal portrait that came through an intimate interview with your real persona. What’s going to happen now?

– First up is getting Kids’ World EP released. It has been a long time coming, but 2013 proved to be a year of great ordeals that postponed a few things musically. Despite being built from music spanning many years, Kids’ World EP is a snapshot of the Baby right here, right now, with all its children’s diseases on display, grinning at the camera.

So, this is the first time that Blitzkrieg Baby is featured on the best label around (in Sweden) right now. Why did you pick Beläten, or why did he pick you?

– It is the first proper Blitzkrieg Baby release on Beläten, yes. But Blitzkrieg Baby’s Your Happy Place opened the A Somatic Response compilation that came out about two years ago. Thomas Ekelund (of Beläten and Trepaneringsritualen) and me have stayed in touch since long before that compilation, so long that neither of us remember when and how we first got in touch. I am very glad to be doing a Blitzkrieg Baby release through Beläten as I, like you, hold the label in high regard.

I know that it’s about the same insane martial industrial pop that’s coming through. Have anything changed since your last release, or is this more of the same?

– Blitzkrieg Baby is gradually changing all the time, in many directions. There has never been very set parameters for what Blitzkrieg Baby is musically, and we are working on music in several directions as we speak. The core, however, is the same.

Could you tell me how it was to record this record? How long did it take, what did you have to do and did you ever hit upon a greater problem before finishing it up?

– Pretty much everything by Blitzkrieg Baby has been boiling beneath the surface for years already, since the project was initiated back in 2001. This means that everything we release has a trail going further back than the few most recent years. This EP has material that stretches back to the last half of the nineties, as well as music finished the last few months. Also, Anders B. of Mind & Flesh is a prominent presence through all these tracks, and his contributions is one of the unifying factors. Kids’ World EP is a 40 minute EP, while the debut album “Porcus Norvegicus” was a 30 minute full length. That makes sense doesn’t it?

Now, tell me whatever you’d want to tell me. What track is it I’m going to get and what is the inherent meaning with it?

– I am handing you Kids’ World, the title track. I feel this is the pinnacle of Blitzkrieg Baby is at this exact moment.

1. Kids’ World

– “It’s a kids’ world, we are your family now, we teach you how to kill.” The world is not a pretty sight, and here is a pop tune to accompany the images we don’t want to see. From all of us to all of you.

2. Loop

– This is a lyric Mr. B wrote about paranoia.

3. The Swine Supremacy

– Human nature.

4. Those They Could Not Fuck, They Killed

– An instrumental ballad.

5. Half Pig Half Man

– Aren’t we all?

6. Broken Child

– Our childhood never leaves us. Mr. B decided to sing my lyrics as if it was a lullaby, so now it is.

7. Incinerator Symphony No. I

– This track has stems going all the way back to the mid-nineties. Together with Anders B., I was deeply into Industrial music and we began doing sound experiments and industrial-sounding recordings besides playing in a band together. This is when he started the earliest incarnations of what is now Mind & Flesh, and the foundations for what would later become Blitzkrieg Baby were laid down. Incinerator Symphony No. II was featured on Porcus Norvegicus. The third symphony is in progress and can be expected to appear on a later release.

8. Children In Uniform MMXIII

– A reworked track from Porcus Norvegicus, thematically close to Kids’ World.

9. Your Happy Place

– This is the first lyric Mr. B wrote for Blitzkrieg Baby. This track originally appeared on Belätens A Somatic Response compilation. I found it reasonable to conclude the EP where the official collaboration with Beläten first started.