Exclusive Premiere: La Bile – La Piscine

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Dreamy, dreary breakbeats with tight IDM-influences is what makes or breaks La Bile – a french project having the honor of being released by Tripalium Corp – in their Digital Mutant Series (number 22), titled: “La Sublimation du Poulpe“. There’s a plethora of different electronic influences in each track on this release, from a multiverse of techno, acid and otherwise obscure electronic genres. Fetching the best from each genre, not compromising with the experimental overtones and the grittiness of it all.

We’re proud to be premiering a track from the B-Side of this release, in our ears one of the best tracks on the release, “La Piscine” delves into the human psyche and opens up a world of mystery, through fast-paced drums and constant flickering, there’s an urgency that doesn’t die out until the song finally fades into nothingness.

You better act quickly if you want it in physical form, as there’s only nine cassettes left of forty in total, so pre-order it from here, and stream the exclusive track from Repartiseraren’s own Soundcloud way before it is released.

Review: Anemone Tube – The Three Worlds – Allegory Of Vanity

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This project had previously been unknown to me, a world I did not want to explore by myself without anyone by my side – a sickening gut-wrenching feeling – coupled with astonishment as I ventured deeper into my own insanity. Anemone Tube is without a doubt one of the most complex experimental industrial, dark ambient acts out there right now. Stefan Hanser – the real name of this musical culprit – also runs the label that released this compilation, The Epicurean.

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He was kind enough to send me one of his three latest releases, featuring earlier unreleased material and bits plus pieces that have been featured on obscure releases. The one I was sent is the last one in the series, “The Three Worlds – Allegory of Vanity” – playing around with the word vanity, depicting it in different settings and with different edges to make a complete red line throughout the releases.

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The aesthetic aspect of The Three Worlds – Allegory Of Vanity

It is very clear from the beginning as to how much time have been spent on the artwork alone, there are subtle meanings which you can draw from the artwork itself, and it is a delight to hold on to the physical material and view the aesthetic splendor. Not many artists have such a beautiful, harrowing cover. A lot of inspiration is drawn from Buddhism in general, specifically the spiritual aspects of the religious teachings of it.

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There is a rejection of death, there is an embrace of death in the cover itself – nothing lasts forever, it is as if there’s a mummified corpse propped up on the artwork – which is frightening for a Westerner like me. A certain aspect of what makes or breaks the modern human is the fear of death. The photography taken by Dario Lehner encompasses much about what makes Anemone Tube a great artist, there’s a depth and a thought not just on the music – but on the aesthetic aspect – it is entwined with everything else.

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The musical aspect of The Three Worlds – Allegory Of Vanity

Extreme music in different shapes and forms have always been interesting for us, but we’ve never gotten around to the more extreme forms of industrial music. Here’s a real combination of the occult and the experienced at the same time, a veteran of industrial music is more likely to deliver something listenable or thoughtful.

The first song “Ausweg” encompasses material recorded during 1997 – which is unfathomable that it has been over twenty years since then. It is with an urgency that you’re thrown into the chaos of crackling noises, what sounds like gunshots into the air – a veritable nightmare that we’d make sure to never live to see. The word in itself, “Ausweg“, portrays a grim reality which musically is not far away from turning into a mish-mash of continuous loops, into a more controlled and adventurous mixture of dark ambient and experimental industrial music.

Throw in a bit of power electronics to shape the mold that it goes by, just to hear the sirens roar as the skies blacken above you – this music is perfect to listen to in the evening, because the same kind of mayhem isn’t believable musically during daytime. Towards the end of the song there’s a lull of acceptance, a small concentrated steadily shifting atmosphere that leaves nothing more then an overlook of the maniacal frenzy that just occurred musically.

Primary Slave“, also one of his works from 1997, is a descent into nothingness, a nihilistic tendency that devours all the joy you’ve worked up through your day. It is emotionally draining to be listening to, but admirably complex in both the subjective topics being disseminated among a barrage of strong, abrasive rhythm that leaves nothing to be desired musically – it is thought-provoking without having to leave an inch to the imagination. It is like being told what you should be doing, despite a nervousness that slips through the cracks of your subconsciousness.

Honestly, there’s few people that manage to pull off such a masterful combination of the darker genres in electronic music, once you’ve listened until this song, there really isn’t much that can bring forth anything – unless you look far back into the 1980’s, and the primary sources of where this music actually comes from. One of the negatives with this kind of music is that if you’re not heavily into it, there’s nothing you could gain – egotistically speaking – from listening to this. It is a niche that is waiting to reap its benefits, but Anemone Tube’s completeness is what ultimately could break this kind of basic thought.

The third song, “Illusions“, is a previously unreleased track from 1998. Here he makes a clear example with his lyrical ingeniousness, combining the harshness in his vocals with the overall spearheaded atmosphere that thrusts with all its combined weight – into a morbid dark ambient spectacle. A spectacle that leaves no-one undisturbed, a whirlwind of the most uncompromising power electronics, industrialized experimental music that you’ve heard for a long time. This satisfies every man’s need of true, infectious anti-music.

In comparison with the other songs, this one is our favorite. That’s one of the main benefits of listening to Anemone Tube – when one song is surprisingly great – another one strikes out from below and takes the throne. It is almost unbearable to listen through the end, as the intensity is ramped up and you feel a great deal of paranoia – surely one of the most emotionally charged songs thus far.

Asphyxiate” and “Imminence” were both recorded in 1998, previously released on “Allegories For The Future“, a cassette-release on Loud!. The only reason both of these are written about in the same column, is because it feels like they are more intimately connected then the other songs, both logically but also musically. The aforementioned one isn’t that big of a deal in comparison with the last song, but it bridges over a gap between the more emotionally charged songs, and the fact that it fills you with total indifference.

Asphyxiate” is literally what it aims to be, just by looking on the title. It is indescribably horrid – not in the musical way – but as it lacks the complexity and forcefulness of the other tracks on the release. “Imminence” grabs a hold of the classic power electronics sound and puts in an atmosphere where it otherwise would be lacking, a constant disarray of charged electronica that bashes in your skull with such frequency that it must be played out loud. If punk is dead then it will re-surge post-mortem through this release – this kind of music is as uncompromising now as it was back then – and this first compilation is a tribute which holds the spirit to a high degree.

For those of you who have been following Anemone Tube for a long time, we sincerely recommend getting this release. Instead of just buying it digitally, but this wonderfully crafted CD and play it quietly, or aloud. Stream it in full down below, this release is as brutal as it possibly could get, and it isn’t a forced re-hash of older material.

Review: Celephaïs – Grey Dawn, Quaint Gardens

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Ordo Viatorum surprised us first with the split between Neugeborene Nachtmusik and Onont Kombar, to us they seemed like an off-shoot to Enfant Terrible at first – though they share common ground in a lot of aspects – this label is run by Jeroen Holthuis and Maurice Hermes. The label is even more experimental, if that is even a possibility. The second release to be reviewed on Repartiseraren came out in November last year, and features the first album of the duo Celephaïs – Ian Martin (Kaval, Opfer) and Jeroen Holthuis, titled “Grey Dawn, Quaint Gardens“.

We were sent a physical vinyl (limited edition of 300) which is remarkable in all its simplicity, but more on that later on in this article, as we’re about to show you the full layout of the release itself in the pictures below.

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Gladly enough, there’s nothing negative to report about in the shipping process, everything looks pristine and is working as intended. So here’s where PostNord actually didn’t screw up in terms of delivery, a once in a lifetime experience. There are two more pictures which feature the A-Side and the B-Side of the vinyl itself, which can be viewed down below, and then we’re off to the aesthetic aspect of this release.

The aesthetic aspect of Grey Dawn, Quaint Gardens

It is clean, easy on the eyes and beautiful in its own particular way. White and black, some hints of light brown on the vinyls themselves, and the insert almost looks like a Rorschach-test. There’s always been hints of different colors beneath the black and white facade that Ordo Viatorium have portrayed before this release, there are subtle notions of something else hidden away that you’d have to look for before even finding it.

Even though the aesthetics aren’t that pleasing when it comes to the cover, it is simply because it is not something we’ve grasped and can relate to in any way, it feels like a profound release when viewing the package as a whole, but be wary of catching a mind-virus, as it feels like looking at something resized a million times as if it was originally viewed through a microscope.

Those kinds of aesthetics are not off-putting, but it is subliminal in a way that we cannot fathom – but the artists themselves had a clear intention of putting images in our heads – and that goes perfectly well with the music. It’s pretty standard for any experimental release to have something that doesn’t adhere to the norm – but it has rather become the opposite – that experimental aesthetics have set their own norm – which isn’t touching your soul in the same, rebel spirit as it may once adhered to.

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The musical aspect of Grey Dawn, Quaint Gardens

As described earlier, this duo consists of Ian Martin and Jeroen Holthuis, both of them are no strangers to experimental electronic music. Ordo Viatorum is proving to be a viable platform for these projects to flourish, without the help from the outside and little to none recognition, which is wholly undeserved. The musical experience these two possess is what reveals itself in this debut-album, “Grey Dawn, Quaint Gardens“, now we’re going to delve into it as per usual – on a track-by-track basis – for the review.

Undreamed Dreams” is a paradox in itself by name, but it adheres to the concept in the title of the track, a dreamy and ambivalent soundscape set in motion by a hushed electronic motion that steadily creeps in on you. A boat that never reaches harbor, a train that huffs and puffs like the old days but never stops on a platform – a continuum between awake and asleep. It is a ghastly feeling to be caught in a limbo, the more you notice the vague and sensible touches put in there by the artists, the more uneasy it feels listening to it.

We conjure the most horrible thoughts, as time passes by this is where time stops for a while and feels like an eternity. Not even on the second track yet, and we’re not even upset because of boredom, but it is upsetting to be drawn in and latched on to musically – it feels like never letting go, a constant reminder that you can only affect as much of the world around you, but it doesn’t make a difference in the end. There are some beautiful nihilistic tendencies which gives off a cold, stale emotionally charged vibe.

The music itself is as if ambient were re-occupied by the greatness of Tim Hecker’s earlier material once again, just in a completely different setting. It is very European in style, and delivers what can be construed as a thoughtful but menacing barrage of noisy synthesizers, simple but provoking droned out sounds, abhorrent ringing sounds and rambunctious arpeggios – a wake-up call on a Sunday evening that Monday is tomorrow.

Resentful Of Awaking” is being hit by the sunlight when you just want to pass out, another day to tackle with inane activities. What becomes clear after two songs in is how accurate the titles are, they have not just been made up out of the blue, like most ambient songs have – they actually reflect themselves into the music, as it have reflected it back when first being named. This one is more beautiful in a calming fashion, though some of the sounds manage to send a chilling feeling down our spine. If we’d hear this every time we’d be waking up, we would’ve been filled with energy and optimistic about the rest of the day.

There is a certain nerve of darkness that smothers itself upon you, when the rain hits your window and you’re forced to endure walking through it on your way to work. When the music is so thought-provoking in different ways, and you can just soak it in – doesn’t matter if it is negative or positive – you know the musicians have succeeded. It is an art form if you manage to pull so many strings, so many nuanced feelings in between that can’t be written in words, that you should be aware of what talent you’ve amassed.

Damp Stone Spiral Stairway” is the best song overall on the A-Side of this vinyl, nothing beats the constant brooding, deep base tone that makes your head spin round and round like the vinyl itself on the turntable. You may feel nauseous, you may be a bit dissy after hearing it – but when paired with the flair and urgent sounds in the background – the atmosphere cannot get any better. Having built upon a solid ground, this uproots on itself and heads upwards, through the mountains. Have I ever wanted to witness Aurora Borealis in sound, this is it – or at least close to one of nature’s phenomenons – it is almost as if they’d want to mimic something like that with the sound.

When paired with the whole audio-visual experience, this song becomes even better and should solely be watched together with this video, even though it definitely holds up on its own. Some of the best combinations of ambient and experimental electronica in general that we’ve heard for quite some time.

Red-Roofed Pagoda” starts off with a whirlwind of buzzing sounds, spaced out electronic music and a more industrially-oriented paved way musically. There’s more surprising elements fused within the music itself, and chords that feel like they are going somewhere – rather then laying the emphasis on a massive atmosphere – it is more compact and solidified. It is heavy on the ears but not antagonistic in any way, there’s a seriousness that isn’t fading out any time soon, an urgency to deliver a musical message or show the way, despite what you think of it in your own mind.

Had there been any vocals on this one, they’d be suitable for power-electronics and industrial, but more so the last genre. It is almost as if there will come something that reminds you that it could be power-electronics or noise music, but they discard that run-at-the-mill option and go heavily into other territories of unexplored synthesis. An eye-opener for anyone interested in those genres, as it is most often invested in what came before but not on what comes next, or what could be morphed into something in between all of that.

A Violet-Coloured Gas Told Him” is by far our least favorite song, it doesn’t swing the rope as high as the others and instead falls short. There is a short way to climb, but this is as if something was concocted in a laboratory, where the main focus wouldn’t be on establishing anything to bridge over from the gap the last song left, to the song after this one. Unfortunately it feels bland and uninspiring, though some moments of it leaves more to the listener in terms of experience.

Here’s where they jumped ship for the first time, there really isn’t anything that makes you feel anything. If that is the point – then they’ve succeeded – if not, then they’ve failed miserably, unfortunately. We’ve tried to listen to it multiple times, but it barely gets interesting on the end of it, but then we’re all deaf ears.

Good thing to be caught up in “They Seemed To Gallop Back Through Time“, as it saves the evening, literally. Despite being the last song on the vinyl, it proves to be a great outro as well as a song, heavily invested in intangible themes and a compromise between atmospheric electronica and the more industrially oriented side of Celephaïs. There are also some oriental vibes caught in between all of this, but as they fade out it begins to get more scarce with that. Then – all of a sudden – they jump back into it, more outdrawn and less stoic, more psychedelic and with a vengeance.

What do we think of this album all-in-all? It is probably one of the greatest debuts we’ve heard in these genres, and we’re interested in what will happen in the future for Celephaïs. They provide you with something different, even though you hear similarities with other artists and groups, but they don’t affect your judgement when listening to this. To get the ultimate experience, you definitely have to get the physical edition of it, the vinyl – from Ordo Viatorum. You can listen to some of the full tracks from this mix Jeroen made for SEER 334, down below.

 

Watch: Celephais – Damp Stone Spiral Stairway

This surrealistic, brooding and strange sound emanating from Celephais is hypnotizing. Alongside the music-video for the song “Damp Stone Spiral Stairway“, featured on their first album release ever on Ordo Viatorum, is a piece of craftsmanship we’d thought we wouldn’t like at first glance. When combined with the music, the video brings together cinematography and an almost 3D-esque glimpse into something not as futuristic anymore, it feels almost as if we’re viewing this from the perspective of someone three decades ago at least.

Once you’re sucked in, the music never lets go of you, it pulls you further in and holds you up – as if you’ve seen the light for the first time – a metaphoric out of the body experience, as told by weird shapes and forms traversing time. The full album is titled “Grey Dawn, Quaint Gardens” and will be reviewed, track-by-track, tomorrow on Repartiseraren. Nothing more needs to be said about this, we’ll let the video describe it perfectly well on its own – because a great music-video can convey something we ordinary humans can’t do in text, you really need the full audio-visual experience.

Previews of the full album can be listened to on the Ordo Viatorum Soundcloud, we’ve linked that below this text so you can get into both the video and the music at the same time, though only in the shape of previews so far – you will have to purchase the vinyl – it is beautiful to say the least, in a very subliminal way.

Listen: mar, Hanetration, TRBL

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Nice, unpretentious and skewed electronic music from Marta aka mar, in the shape and form of a distant feeling of being disconnected but at the same time warmth and comfort, with “who?” she conveys a sense of aesthetically fulfilled beauty in terms of music – and an uneasiness that lingers throughout – you’re always unsure and on the edge, as you’re caressed by whoever you think about right now.

Somewhat nostalgic, a big chunk of unorthodox but well-produced electronica aligned with stiff beats – and a sweet compromise together with non-electronic music. There’s sincerity to the music and not the usual poseur trapped within their confinements of wanting to be “outside the box”, and this is what separates mar from other projects that might sound like this, though being as young as she is – only 23 – makes it more impressive and you should take time out of your day, evening or night to listen to this.

You can stream her song “who?” down below, via Soundcloud. Hopefully we’ll hear more from her in the future, it would be intriguing if she accentuated her own vocals and made that a prime focus, it would enhance the overall sound and definitely pit her against the more well-versed people within experimental electronica, as she’s talented.

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The one-man show I truly admire is Hanetration, his work ethic when it comes to music surpasses many musicians, and he carefully hones his craft to get better and better at it – so with “Ancients EP” – he delves deeper into the different elements: Water, Fire, Air, Earth and Aether. It encompasses each element beautifully and it sounds just like what you would expect from the name, an atmosphere which keeps you in and gets you out of your mind as quickly as possible.

There is something otherworldly to his music, which is obvious for anyone who’s listened to this first releases. What we’re looking for in this is something that keeps it all together, and in that he’s succeeded – as his earlier releases tended to be inspired by all and nothing at the same time – a whirlwind of creative outputs, now distilled into a more headstrong, ambitious image of himself and his music.

It is not something one would listen to regularly, but it is soothing in a way and calms your nerves. We’re blessed to have such a wide array of different influences peeking through, making themselves noticed through small cracks in the layers of each of the songs, our favorite being the constantly pulsating song “Air“. You can listen to his latest EP down below.

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Now time for some intensity, with TRBL and the release “Sleep Inducer“, you get pumping techno, industrial and seriously nostalgic rave sounds all in one. Even though it is close to being a gimmick, there’s a certain vibe to it that separates it from being a full-frontal assault and a clone, which can be hinted in the carefully placed synthesizer stabs here and there, and the breakdowns which slowly turns things on their head.

Perplexed” is one of our favorite songs, a fast-paced beast of a song that is so acidic you’d have to turn up in a Hazmat suit even to be able to dance to this – bordering happy hardcore territory – yet keeping the trance and rave atmosphere intact, without going overboard with the influences. What’s great about the first track, the title track “Sleep Inducer“, is that it reflects a lot on the more sinister themes that can be put into techno, there’s a darker vibe to it, maybe not as hardcore as the other tracks – but something is lurking down below.

Simply put – this is something you should get your hands on, despite only being in a digital format. It is well-produced and carries everything on its own, despite being only three tracks – though all are different variations of the same theme, derived from different times and compiled into three sections – techno with industrial overtones, techno/trance with rave overtones – and a more psychedelic acid techno experience. Listen to it in full down below.

 

Exclusive Premiere: Duran Duran Duran – Sinking About You

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Not to be confused with Duran Duran, the more experimentally oriented electronic musician Duran Duran Duran (Ed Flis) is now having his latest release put out on Tripalium Corp – as a part of one of their ongoing release-series – Digital Mutant. The title of this release is “Bolo Trax” and sports some very intuitive, beautiful and forceful ambient-styled electronica on the a-side of the release, whilst the b-side is filled with a claustrophobic and abrasive experimental kind of electronic music.

What’s exciting about this release is that it is a very limited edition cassette, only forty copies made, which after it comes out will become a sought after item. Even though some of the music isn’t that appealing when listening through it the first time, like many good releases it starts to grow on you and certain themes can be sought out within the music and yourself as you connect to it on a weird metaphysical level.

We’re proud to be collaborating with Tripalium Corp in getting to exclusively premiere their releases, and this one is no exception. You will be able to stream the song “Sinking About You”, taken from the a-side of the release, exclusively on Repartiseraren nine days before the actual release. Tune in to it down below and don’t forget to pre-order the cassette. It is also available as a digital release.

Ljuslykta – [För alltid – för allt] – Del III [Nr. 1]: Bandhagens Musikförening, Intig och SiSTAL

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Den tredje delen av ljuslykta är den mest musikpackade av alla tre. Välkomna in i en helt annan, alternativ värld. I denna serie tar vi oss igenom olika musiker från Sverige, som av en eller annan anledning kvalificerar sig till att vara med i denna serie. Det är bara bra musik, det är annorlunda musik, sådan musik ni kanske är vana vid, sånt ni är ovana vid. Allt kan hända och det sker på ett detaljerat och utstuderat sätt.

Hos de

som för alltid

kommer att vara en del

av denna innersta

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I den tredje delen får ni bekanta er med musik från och av: Bandhagens Musikförening, Intig, SiSTAL, Palmless, Som Åska, Pmtoyou och Solvald.

För det vi gör betyder någonting. Det vi gör kanske håller i längden. Vi är här för alltid.

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Bandhagens Musikförening – Protokoll A

Ett av Northern Electronics senaste tillskott. Bandhagens Musikförening är ett samarbete mellan Michel Isorinne (Isorinne, D.Å.R.F.D.H.S.) och Martin Sander. Tydligen inspelat på Bandhagen Airport – som verkar vara en fiktiv flygplats – men ändock så ger det avtryck i musiken. Passa på att svaja mellan ambient och field recordings, till bultande technomusik som ger en ont i armen.

Sista Station” är ett fint verk som mellan syntar och andra tillagda ljud avspeglar någon form av resa från vatten till vind, jord till eld och allt däremellan. Det formligen sprakar och sjuder, men i slutändan känns det som om det är någon slags undervattensresa till det inre. Kanske till jordens mittpunkt. Rent kreativt så är det fantastiskt hur de båda lyckas prägla den första låten direkt, det låter inte som något de gjort förut – och då särskilt inte Isorinne även om han är van vid att hantera långa, drönande och dånande ljudlandskap. Men det här är något helt annat. Titelspåret “Protokoll A” är mer depressivt i sin attityd, där man flänger mellan bombastiska technotrummor och en konstant melodisk bakgrund. Här ligger fokuset helt och hållet på rytmerna istället för melodierna i sig, även om de tillför en helt annan dimension – gentemot den första låten.

En bit in tas man ifrån själva melodin och djupt in i kärnan av trumslagen, som att på något sätt demaskera det vackra och ta fram råheten, fulheten eller bara den lekfulla rytmen som dunsar mellan de olika tillagda ljuden. Till slut så pyser det ut och lämnar ett eko av sitt forna jag, efter att fullkomligen ha frångått det initiala ljudlandskap man nästan vant sig vid. Det blir en väckarklocka. Så även med “Vändpunkt” – som är en mer tillrättalagd men knastrande gigant. Men här lockar de fram något vackert, något som inte är särskilt vardagligt eller intetsägande, inte för att de övriga låtarna inte har förmedlat känsla och passion, men det här är något helt annat.

Minner om tider som gått och det “nya” som ersatt det – inte i den kronologiska ordning som 1900-tal och framåt – utan mer personliga tider. Det skär och gör ont någonstans, men det är iöronfallande. Man vaknar till liv igen och blir inspirerad. Tänk att något så “litet” kan göra så mycket, men det finns ju givetvis mycket eftertanke bakom. Lika fint som det tonades in tonas det ut och så är det med det. Egentligen vill man bara lyssna om och om igen, men det är ett album man måste ta sig igenom, så…

B-sidan är mer experimentell. De leker mer med allt de har, blandar hejvilt och från starka rytmer skapas det en bubblande känsla. Låten “Elyseiska Fälten” förmedlar verkligen det som gjorts, fast i realtid. Det känns som om man får följa med i hur de skapat musiken, i och med hur många utsvävningar och atmosfäriska element som återanvänds och sätts på en annan plats istället. Hela tiden i framåtrörelse, med de elektroniska instrumenten i högsta hugg, där vissa mellanpassager får ta tid på sig att röra sig fritt i ljudlandskapet och tillsammans med de redan kompakta och konstanta ljuden, skapa en världslig och öppen plats. De dunkande bastrummorna försvinner långsamt bort och sen kommer “Fastväxt” – en resa genom klaustrofobi och rymden. Man känner sig lite som Deckard i Bladerunner, kanske har Vangelis varit något av en influens i åtminstone denna låt, vem vet.

Egentligen så är det ingenting i titeln som ger avtryck i ljudlandskapet, mer än kanske den krypande trängsel som gör sig påmind. Man kommer ett steg närmre civilisationen och dess mindre charmiga drag. Den pulserande synten svävar långt ovan och pareras av snabba hi-hats och undermedvetet placerade elektroniska ljud. Låten i sig är hela tiden i rörelse och utnyttjar det till att långsamt utveckla låten till en monstruös men spektakulär upplevelse. Isorinne och Sander är ett solitt lag.

Ironiskt nog är “Papperstrassel” den mest omsorgsfulla låten av alla. Med en basgång att döda för och olika melodier som passar varandra perfekt, så kan man med gott samvete avsluta denna beskrivning utav Bandhagens Musikförening och säga att: Northern Electronics vet vad de sysslar med och har träffat helt rätt i detta släpp. Särskilt de sista två låtarna är obeskrivligt bra och det övergår ens förstånd varför detta projekt inte fått mer uppmärksamhet – det släpptes trots allt för två dagar sedan, dummer – men någon annan borde ha hunnit före, tycker man. Vi lever ju i en digital tidsålder.

Lyssna till en låt från släppet, nedanför, men införskaffa gärna en vinylskiva från Northern Electronics för det förhöjer upplevelsen märkbart. Trots allt är detta musik som borde lyssnas till via en vinylspelare och inte i hörlurarna, även om det gör sig bra där med.

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Intig – Modfälld

Över till något helt annat. Postrock möter depressiv black metal. Något man hört förut men som inte gjort avtryck på något sätt, då de flesta band i denna kategori inte är någonting att ha överhuvudtaget, men Intig har skapat ett intressant släpp i och med “Modfälld” – som är värt att lyssna på.

Från låten “It Always Comes Back“, känns det nästan som att detta släpp börjar med en seans. En inbjudan till vidare lyssning, med ett kreativt akustiskt ljud som förlitar sig väldigt mycket på reverb. Långsamt byggs låten upp av just – modfällda melodier som definitivt har en black metal-klang i sina toner. Här känns det som om det är introduktionen som långsamt byggs upp för att sedan i nästa andetag gå över till blastbeats och en märkbar förändring i form av skrikande, growlande i kombination med snabba, geniala riff.

Vilket är nästan vad som händer, för i nästa låt, “Wistful Nights” släpps all våldsam energi lös och bildar just några av de tidigare nämnda komponenter, som är precis det man väntat sig, egentligen. Även om DSBM inte är en favoritgenre så gör Intig det mer intressant. Trots att vissa riff kan kännas malplacerade så är den fylld till bredden av det som gör black metal så bra. Snabba trummor, utpräglad sångstil och den känsla som förmedlas via förvrängningen av riffen. Tyvärr så faller det platt ibland med den rena sångstilen, där den råa passionen snarare ligger i growlandet och de uttömda skriken.

Även om samma mellanakt präglas av den rena, självömkande sångstilen, så är “Forlorn” inte så illa den heller. Hade det skurits bort så hade denna låt varit närapå perfekt. Atmosfären är tung, den är definitivt mer post-rockig än den föregående låten och mellan trummornas slamrande och den koncentrerade rytmen, finns det utrymme för snabba utfall. Särskilt imponerande är faktiskt melodierna som gitarriffen avger, där det centrala är att skapa en sinnesstämning av guds nåde. Nästa låt, passande nog på ryska, gästas av Waldgeist – “К Забытой Вечности (feat. Waldgeist)” – vilket gör att den får en helt annan karaktär. Helt klart tar hans desperata skrik och growlande över, men är imponerande som in i. Det är verkligen dräpande rent känslomässigt. Märkligt nog lyckas han nå snäppet högre i intensitet – som om det inte var intensivt nog – och denna skicklighet tillsammans med blastbeats och ambitiösa riff, gör låten fulländad.

Den sista låten, “3 AM“, är inte särskilt imponerande rent sångmässigt eller när det kommer till lyriken. Resten är faktiskt helt okej, det är knivvassa övergångar och otroligt uppslukande att lyssna till om man glömmer bort de detaljerna. Förmodligen är detta även en av de låtar som har bäst melodier och där atmosfären är intakt från introt till slutet. En malström av det som gör Intig bra, i alla fall på detta släpp.

Ni kan lyssna till det nedanför och köpa släppet via deras bandcamp.

sistalspecies

SiSTAL – Species

Göteborgsbaserade skivbolaget IIVII sysslar med att släppa experimentell elektronisk musik och är sub-label till Substream Music Group. Här fanns “Species” av SiSTAL, vars släpp ger en inblick i deep techno, dub techno och ambient. Förmodligen tre genrer man inte direkt hört kombineras, men SiSTAL gör något intressant av två genrer som egentligen inte är särskilt intressanta i sig, nämligen: deep techno och dub techno.

I underjorden hörs ett ljud och det är “Siphonophores“, en konstant bråkmakare vars stora technolabbar studsar fram och tillbaka mellan bas, rytm och melodi. Även om det inte händer särskilt mycket i låten i sig, så är det de små nyanserna man bör hålla koll på eftersom att de sakteligen utvecklas till något större. På sex minuter hinner basen bli mer intensiv och de experimentella elektroniska ljuden visar sig på den styva linan. Det som gör låten är att rytmen är så svängig och att det går att hålla igång den så länge utan att det blir tråkigt att lyssna på.

Ophiuroidea” gör att rytm och melodi utvecklas tillsammans på ett organiskt sätt. Det känns som om de blir en del av varandra och för låten framåt. Känslan man får är skum, man kanske befinner sig någonstans man inte borde vara. Hela tiden är det en känsla av paranoia, vilket inte görs bättre utav ljuden som tillsammans bildar en massiv och ogenomtränglig ljudvall. Långsamt görs allting levande och genomträngande – det känns som om man på något hypnotiskt sätt är tvungen att lyssna vidare.

Aequorea” blir den låt som klart visar att SiSTAL är mer än rungande, konstanta rytmer och djupgående beats. Melodierna och de svepande syntarna i denna låt är helt klart något som påminner om STURQEN – i alla fall hur de använder sig av skarpa, elektrifierande och stormiga atmosfärer i sina låtar. Från de mer långtgående och målande elektroniska ljuden som svajar mellan ljudbilden och att vara utanför, på en sekund. Det känns som om någon tittat in, mixtrat lite till med ljuden och lyckats få till något som helt klart klår de föregående låtarna med hästlängder.

Remixerna av både “Ohpiuroidea” och “Ophiuroid/Siphonophores” ger tyvärr inget bestående intryck. Även om de har sina bra delar så är det helt klart de tre fristående låtarna som är bäst. Ni borde spana in detta släpp och lyssna på det i sin helhet via IIVII-bandcamp.