Exclusive Premiere: DYN & Bleib Modern – Live Split EP (A-Side – DYN)

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Black Verb Records is a new collaborator and have granted us access to their latest release, namely “Live Split EP” – an EP recorded live at Badehaus in Berlin on the 14th of May – split between DYN and Bleib Modern. We’ve been allowed to showcase the a-side of this release, which features the music of DYN, a psychedelic and shoegazy adventure between insanity and sanity. Opposites attract, they say.

You can listen to it here exclusively on Repartiseraren before release. This split will be released on the 22nd of June and you can pre-order it over at Black Verb Records. You’re in for some really psychedelic tunes, in an alternative way. Stream it in whole down below and find the tracklist as well.

Tracklist:

1. Two Times
2. Day In Life
3. Just A Little Bit
4. I Can Handle This
5. Love Of Mine

 

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Exclusive Premiere: D.Å.R.F.D.H.S. – Bockahorn

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Drawing influence from phenomenons and the history of Sweden, for example the Witch Hunting between 1668-1676, for their release on Clan Destine Records, titled “Det Stora Oväsendet“. The cover features a picturesque, in our eyes any way, painting of Swedish countryside during that time – but what lingers in the dark is not known. When you know the topic for this particular release, everything becomes so much more gloomier and frightening, like the etchings of coal on canvas. This is one of their positives which make them unique, in more ways then what sound can offer.

Their collective acronym is D.Å.R.F.D.H.S. – which spells out: Dard Å Ranj Från Det Hebbershålska Samfundet. A play with old Swedish words to create a fictive umbrella term for everything they do. Michel Isorinne and Varg (of Ulwhednar fame) are the sole proprietors of this imaginative collective, though we’d rather say they’re a “duo” – but that doesn’t sound bombastic enough. The topics they engage in seem to be less than fictional, taking most of their influence from obscure or overshadowed occurrences in Swedish history.

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For their forthcoming release “Mjöldryga“, a tattoo seemingly portraying; inked in “D.Å.R.F.D.H.S.” on someones’ arm, one half of a scythe, plus a symbol of some kind, but mainly a flail that’s situated in the middle of the picture – all constitute the artwork for this album. For those of you that don’t know what “Mjöldryga” means, it means the following: (Secale cornutum) is a parasitical organism, a fungus that attacks different kinds of grown plants, including grain of different kinds. This is one part of the main theme of the album – but it goes into different perspectives, probably related to a more or less obscure happening in Swedish history. We’re thankful for them to be around to teach one about topics we as Swedes haven’t learned or didn’t care too much about. Intriguing.

We at Repartiseraren can proudly present to you a track called “Bockahorn“, taken from the B-SIde of the release. It’s a twenty-minute long escapade that hides more beneath the surface than you can imagine. You don’t hear it the first time, but there are nuances in this dark ambient, experimental ambient trip into deep conscience, taking a long time to build with ambitiously created stages in sound. It’s like a playwright completely in sound, related to forgotten bits and pieces of history. Listen to it exclusively down below. It will get released on Beläten in the very near future and hopefully before the next year arrives.

[16th] December: Yves Malone – Yellow Sweater & Junos

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One of our favorite synthwave acts as of late, Yves Malone, have chosen to grace us with an appearance for Ljudkalendern. For those who don’t know, he’s been featured in three reviews and premieres on Repartiseraren, back when Field Hymns compiled three of his earlier released albums into a box-set of cassettes. Since then he’s also released a separate album called “Ebony Sunrise“, on Orange Milk Records. What’s unique about him is how he manages to transfer soundtrack-music out of the box and into proper synthesized music, instead of it sounding exactly like a soundtrack is to sound – if you’ve ever had that feeling of how you can distinguish between the two. Which we’ve had plenty of times. That kind of transcendental move is hard to make when you’re not able to think outside of the box, which Yves is certainly very capable of at least musically. There’s always a thin line between. He crosses them all and it resonates throughout the atmospheres of his songs. Even though a box like the one on Field Hymns have a certain purpose, that had been cemented way before it was re-released, we like his craftsmanship and ambition when it comes to layering synthesizers over one another, creating a heavenly output for both dismay and happiness. Both rhythm, overlapping textures of synthesizers and melodies are important building blocks for his music. We don’t know how he so carelessly pulls all of this off.

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For Ljudkalendern it was originally intended to be an already produced song he had stashed away, from somewhere. As we haven’t had the time to write freely as we’ve wished, we therefore asked Mr. Yves for a concoction that would be linear in theme, but irregular when it comes to the music. Well, maybe not that structured. We proposed that he should produce a completely new track and out came two. Two different tracks both in general atmosphere, but also because one of them, “Yellow Sweater” is more beat and rhythm-oriented, whilst “Junos” take an upper-hand when it comes to perfectly laid melodies that make the whole thing a lot funkier. In a way we’re reminded of a synthwave Group Rhoda, if there ever would be one. A tropical rhythm with playing synthesizers that act as triggers for the rhythm in some cases, but when the melodies come together and shape a grandiose melody everything starts to roll down the hill and become even more exciting. First it fades out, feels like it is rebooting and slowly builds up a baseline that holds up the melodic construction. We give you these two newly procued tracks to stream exclusively for Ljudkalendern and the 16th December – on Repartiseraren!

Exclusive Premiere: ARM – The Coldest Room

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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.

Strömma Exklusivt: Dödsvarg – Glädjedödaren

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Ut från det tomma intet kommer en varg som representerar den karga verkligheten. Med hinkvis av det osande hat mot livets tristess som det mänskliga släktet vant sig vid, tittar de bortgångnas baneman ut från skuggorna. Ett djur mer fasansfullt än det hemskaste din egen fantasi kan uppbringa. Denna best är frammanad av Jon Ekström, eftersom att det är hans soloprojekt, går under namnet: Dödsvarg. Med de basala drifterna tillfredsställda, garderar sig denna helvetes uppkomling genom att dra influenser vitt och brett, utan att för den delen låta det påverka hans uppdrag—att alltid skräda ljudbilden till minsta beståndsdel. För två månader sedan släppte han en trippelsjua, där alla hans EP’s fick plats under samlingsnamnet “Människan är en ruttnande process“—inkluderar “Total System Collapse. Fuck!” (2012), “Om det där med omänskliga relationer” (2013), och “Slaget om alltings jävighet“—plus en helt ny bonuslåt vid namn “Anställd som underställd“.

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Det som intresserar med Jon Ekström och hans musik är att han just nu, åtminstone i Sverige, är ensam om att skapa något som kan sammanfattas som oljudsframkallande “industriell metal“. Ännu intressantare är hur man kan lyckas med detta umbärande när man bara är en person som i stort sett sköter all inspelning, av alla instrument, med få undantag ersatta på vissa låtar där han samarbetat med andra. Men det är oftast på fåtalet låtar och då handlar det om ett instrument eller en strupsångare som ersätter hans karaktäristiska—men plågade—underjordsvrålande. Om man bestämde sig för att förbeställa de fysiska vinylskivorna så fick man ett album på köpet, ett osläppt album som varit färdiginspelat sedan länge men som enstaka personer fick ta del av som tack för mödan; att de skramlat ihop pengar till att betala för sig.

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På detta släpp har Jon Ekström samarbetat vitt och brett, bland annat med två sångare och en rappare, varav en sångare som täcker upp för honom själv i en låt, medan de andra fått ta över med sina sångröster helt och hållet på de låtar som varit designerade för dem. Utöver allt detta så har han tagit hjälp av två trummisar, en som trummar för en sång rakt igenom och en annan som kompletterar Jon Ekströms trummande. Alla dessa personer är namngivna: Jens Ekelin,  Primatho, Samuel Skoog, David Flood och Hector Sjölund Peinado Peña. Visst kan man tycka att det är spännande med samarbeten till en viss grad, men när ett släpp är så fullständigt infekterat av samarbeten så blir man rätt motvillig inför lyssnandet. Särskilt eftersom att Jon sköter det musikaliska så bra annars, men det ska sägas att det går att genomlida med råge, eftersom att de bidragande musikerna faktiskt lägger till ytterligare en dimension till annars jävligt välsvarvad och bra musik.

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Eftersom att det är tolv dagar tills Jon Ekström släpper detta tidigare exklusiva och otillgängliga släpp, i sin helhet via sin Bandcamp så fick Repartiseraren en exklusiv förhandsströmning av albumet så att ni kan lyssna till de härliga tonerna av världens undergång; och en näve eller två för mycket nihilism. Plattan består av elva låtar, varav “Slutet“, “I Kolgruvorna” och “Satan” förblir Jon Ekströms egna alster, då alla andra innefattar ett samarbete eller två. Allting har spelats in av Dödsvarg och även mixats av honom, omslaget har även tillfallit honom att skapa. Mastering skötte Audiosiege ypperligt som vanligt. Hoppas att ni tycker om detta album lika mycket som jag gjorde. Om ni inte gör det, så går det alltid att spela albumet en gång till—jag lovar att ni kommer att fastna efter sjätte gången, eller tidigare. Njut av den karga nihilismens stålhätta, vars totala misantropi tar sönder dig inifrån.

[10th|11th] December: Kord & German Army

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Odd coincidences arise when you’ve got so little time to assemble a non-commercial collection like Ljudkalendern. Picking two opposites that in no way resemble the other, then you know that it’s something fate intended. It was by no means planned in complete detail ahead of time. Because I had no time I missed the opportunity to showcase to you a track for the 11th December, I’ve had to combine yesterday’s—with today’s exclusive premiere. You got to stream the first song ahead of time, before an article was to be published. So you already know that Kord (Johan Sturesson) got his time in the limelight prior to this article being written, contributing with a humorous yet ambitious piece of synth-pop venture—leaving no time at all, to impress the author, as well as the listeners.

Since we’re running out of time, before the 12th December is about to be set, we introduce to you: Germany Army—post-Tassili Plateau—stronger and odder than before. Welcomed out of the swamps where they’ve resided for revitalization, before launching a miniature drone, transmitting sound bytes to enthrall, or disperse your mind once again. Still nobody knows if they are for real or just a product of your own self-delusion. Their donation to Ljudkalendern is titled; “Life, Debt” which is a gloomy marshland of sound; where humans go to escape civilization. It’s back to how it once were—in tune with mother nature, in a rather decayed, manner. When interpreted by us, the title of the song becomes a metaphor for how you’re owing German Army your life, and your indebtedness to them. We on the other hand feel like we owe them a proper showcase since their masterful album “Last Language“—one of their best efforts.

Poem(s):

Who’s at your side,
to for you provide
It’s Johnny!
Who’s Johnny?

/

For the army,
do everything
For the army,
don’t be smarmy

This is a special and fated release, due to lack of time. 10th and 11th December in one article. Feel how you move from a spaced out adventurous story, to a draining hazy experience in the midst of a huge prairie pothole—bordering Canada, America’s own North and South Dakota, as well as Minnesota and Iowa—you’re screwed. Take the aforementioned text as a hint, German Army, I might’ve given you a concept for a follow-up to Tassili Plateau.

[8th] December: Red Mecca – Sunny Day

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A decade turned into another, quickly the 1980’s faded into oblivion and the 1990s was born—Cabaret Voltaire had their release “Red Mecca” put out on CD via Restless Records and Mute Records. Nine years earlier that album was released on Rough Trade Records, being a their fourth album if you ignore the “Live At The Y.M.C.A. 27.10.79” and “Live At The Lyceum” releases. Fast-forward eight years from 1990 and you get 1998—the same year Jan Strandqvist release a maxi-single under the name Red Mecca. Coincidence? I think not. We think there’s little doubt that Cabaret Voltaire’s name of their fourth album influenced him, when it came to choosing the name of his project. The maxi-single was called “Please Goddess” and got produced during the time Telegram Records Stockholm existed, first an independent Swedish label started in 1987, in the end of the 1990’s sold to Warner Music’s sub-division to WEA (Warner Elektra Atlantic). Now since some time back a defunct label.

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During the time-period where the label was still at least going forward, Red Mecca put out a song called “Underground” which was, at least for the Warner Music Sweden-release, written by Eric Svensson—co-founder of Sidelake Studios, gold & platinum selling producer and songwriter. When this solo-project which we suppose could be attributed to Jan Strandqvist alone, with some reservations, was in its first stages—the focus laid on House-music from what we can tell. A huge step away from what Red Mecca was to become, but we’re getting there. A maxi-CD called “Love Is A Savage Thing“, featuring the track with the same name and remixes of it, including a new version of “Underground” as a fourth track—Maria Ritzén of Stone Soul Picnic were the vocalist. The project itself seemed to be more of a project for Eric S as he is credited for remixing, but it’s hard to see where Jan comes in after this. Telegram Records closed down and went defunct. We’re in the 2000’s now, where it changed from the 21st Century to a millennium.

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The project wasn’t activated again until 2013. The same year, Frida Madeleine contributes to a Massproduktion compilation of interpretations by local creators for their latest vinyl-releases, the track is named “Frostjackan“—originally written and performed by the Swedish pop-band Indi. Somewhere along the lines they found one another and re-activated a long lost project which hadn’t been touched since 2000. Thirteen years later Frida Madeleine becomes the singer of Red Mecca—Jan Strandqvist the producer and machine-operator. The project changes completely from House to a combination of darkwave and indie-pop. The album “You Were Never Here” is released on Massproduktion as a CDr, featuring six tracks, one track called “Love & Hate“—with music by Anders Brodin, Henrik Brodin, Jan Strandqvist, Mikael Svensk and Peter Byström. Track three and four was written by Bonnie Rabson. Roughly a year later a proper album is released under the name “Covered With Rain“. The lyrics for all the songs are now written by Frida Madeleine, and she also made the music for “When It’s Empty“—the opening track. Jan Strandqvist produces the release, creates the cover together with Robert Persson, as photographed by Izabelle Englund. The label artwork was created by Catherine Fandén. Mastered at Cutting Room by Mats Lindfors. Let’s leave the technical aspects now.

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With their wondrous sound, gloomy and virtuous atmosphere, they create some kind of warmth which sucks you into the music. They’re an unbreakable duo that have just released a new b-side from their latest album, called “Endless – Highest Mountain On Mars Remix“. Now they’re featured in Ljudkalendern for the 8th December with an unreleased track they’ve had laying around. A humble but ultimately beautiful song which goes by the name of “Sunny Day“—a crash-course in complete melancholia. Here they show more of their darkwave-side and less of their pop-oriented blasphemy. Kidding, of course—everyone likes pop, including me. But I have a certain kind of passion for darkwave. Calm vocals, descending synthesizers that build up and create a fragmented atmosphere: “You can’t stop this motion“. Listen to it exclusively on Repartiseraren as a part of our non-commercial collection.

Poem:

Fade into darkness,
embrace it regardless
Brighten up for a day,
heighten your own stay

This is the passionate delivery of Red Mecca. We’re in Nirvana now and don’t look any further. There’s only an hour or two left of this day, so embrace whatever they’re intending to give you. Listen to it with open ears and let it sink in. Blend into a wondrous atmosphere. Here’s for the 8th December—”Sunny Day“—better not rain. It can wait until tomorrow when another track will be put up and out for Ljudkalendern.