We can present to you the wonderful music-video of the track “Alo“, that Heroin In Tahiti had put up a month ago, as a celebratory gesture for their coming vinyl 7¨ on Yerevan Tapes. “Peplum” is the name of their two-sided release, featuring the title-track “Peplum” on the A-Side, a kind of post-apocalyptic hurrah for an imaginary Ennio Morricone soundtrack, blended with the fururistic gaze of Lee Van Cleef’s rather ghastly face. As we look into matters on our own, the B-Side contains the track “Alo“, which you can listen to in the aforementioned video, as you get to follow them on a trip through rainy landscapes, on their highway to heroin. When it was written, it was originally featured in the exhibition by Phil Collins, called: “In Every Dream Home A Heartache“. In comparison, “Alo” is a more gloomy track which drones into the horrific but steadily engaging sound-scape that would make you awe-inspired even if you’d hear only a bit of it. Lurking in the shadows is the face of them, their clownish demeanor and their samba-like percussion on ecstasy. We suggest you look into the visuals for the first track, whilst you mellow out with the clandestine approach of the first track, as “Peplum” ceases to exist and flows magically into the B-Side. Hear the dreamy sound change into chugging guitars with a horror-themed drowsiness to it.
The release itself will be put out by Yerevan Tapes on a vinyl 7¨ on the 2nd of May. So whilst you wait for this promising release, have a bit of coffee and relax to the music-video which Repartiseraren could harbour to his own channel. It is by no means exclusive, other than for my channel at this time, but it can also be viewed from theirs. As I said in the beginning, this is more of a celebratory gesture for the growth of an organic Nordic themed Repartiseraren, together with the internationalist vibes of Heroin In Tahiti. Join us on our joint-adventure and await total misery, a slight transfusion with drowsiness – and the exceptionally great and original sound they produce.
This is the continuation of the last post, where Les Jumeaux Discordants were kind enough to grant me access to their world – through their music. Providing me with a careful selection of tracks that might already be out there in some way or another, but mostly whom are restricted to this blog-zine as such – and their limited CDr-releases. The whole purpose of this was to grant people who may be interested in their music, something to listen to if they weren’t that quick to have bought their releases in the first place. These two tracks that I’m about to present to you, were featured on their first and only self-titled release “Les Jumeaux Discordants” – which was released by Misty Circles, in the format of a CDr limited to 100 copies. Alongside four other tracks. Displaying their underestimated experimentalism, as their first release. Engaging into more unknown territory, in comparison with the later releases. Honing what was to become a modern classical masterpiece, lending their thoughts deeper into their own imaginative state with this particular release. You can certainly hear the difference, albeit it’s sublimity. Venturing in between martial-industrialism, dark ambient and a more grandiose landscape of sound changing into the morbidity of the under-dwelling feelings, the suppressed and dark thoughts caught in the moment of them slowly being released into the world, with absolutely no embellishing filters.
We give to you, here on Invisible Guy, the two tracks “Betrayed Bride” and “The White Room” – for your pleasurable streaming experience. One of the tracks are already out there more or less, but “The White Room” features a ‘ghost track’, also. You can stream these two tracks exclusively on Invisible Guy, with the approval of themselves. I would like to thank Roberto Del Vecchio and Aimaproject for giving me this opportunity, to share with you the sound of a greatly under-appreciated duo. So do check it out.
It must be said that I am not that familiar with the work that German Army has put behind them, but I’m certainly familiar with the general mood of his music. Since I was sent the latest album “Last Language“, I must oblige to at least talk about it. This album is a veritable orgy with harsh reverberated noise, mixed with ethnic vibes and an utterly schizophrenic atmosphere. A lot of the tracks rely on sending a claustrophobic message, conveyed through colorless lenses, as another banging drum bites the dust. Swirling cataclysmic environments collide, in a matter of seconds, as buzzing industrialized tools give you a blood-curling experience. Whilst other tracks rely on heavy reverberation, to give another kind of characteristic to each individual track – as it is used differently every time. It feels like the tracks alternate into each characteristic, giving a general feeling of how the songs are divided up. When you listen closely, you can tell them apart through a 50/50-principle. Meaning; after one track, there’s another with the aforementioned characteristics, which change rapidly from the first-mentioned claustrophobia, urban decay, colorlessness – to the less harsh and less industrialized landscape of reverberated sound. The industrialized tracks sometime border to harsh noise, without being an embodiment of it at all – at least not to the fullest extent. Acting as a barrier between the general experimentalism of noisiness, and harsh noise as such. Due to the fact that he utilizes the experimentalism that makes German Army a floating experiment per se – makes it hard to categorize what shouldn’t be categorized. But we humans need an explanation as to what we’re actually listening to, which is hard to do when you come across something like this. Actually deciphering this wall of menacing, and possibly “heard before” sound, without making any pointers to what actually can be experienced through their sound – is hard enough. I advise you to listen to it, at least, because it’s magnificent with its all-out chilling influence, on the mind. The release can be bought from A Giant Fern Records, in the physical shape of a 180g LP.
What could possibly happen, if two of the greater and more productive independent artists from Norway meet? The answer is not so simple, it would require a lot of categorizing. As they part from skwee, insert a little bit of eletronica and a big part of beats here and there. This joint operation of Borgen and Center of the Universe mixes two distinctive minds, with experimentalism on one hand and the acoustic blend on the other hand. Fit it together within the frame of both electronica itself and a little bit of skwee on the edges – and you’ve got your perfect collaboration! Their 7¨ vinyl will be released on Metronomicon Audio on the 8th of April.
For the fans and everyone interested in their music, I can tell you that Invisible Guy in collaboration with Metronomicon Audio – are going to premiere a track from the coming four-tracked 7¨. It’s the song “Volume Knob” that you now have a possibility to listen to and stream freely here on the blog. Tune in down below, I promise that you will not be disappointed.
Eftersom att det endast finns en låt på denna kassett, blir beskrivningen utav den längre. Den enda låten på denna kassett är “Likboden“, som varit inspelad i det gamla bårhuset i Sisjön som ligger vid Sundsvall. Med klingande bojor och skrik som nästan skulle kunna hämtas ur vilken mardröm som helst, börjar det i långsamt tempo. I den gråskala som ljudlandskapet befinner sig i, finns det kontraster som kan efterliknas varandra, men bara på den grad av hur de speglar varandra och likt en plåga uppenbarar sig självt för en. Trots det lågmälda men nästan eggande skriandet som pågår, så är det precisionsartade rytmer som uppenbarar sig. När någon på undervåningen bestämmer sig för att ljuda av med hjälp utav bankningar i taket, så kan nästan den symbios som upplevs inom ljudlandskapet stanna av för en sekund, för att sedan fortsätta i samma spår. Rytmerna blir allt vagare, men det som består är ljuden, som trots detta nästan verkar vilja röra sig utanför ljudlandskapet endast för att inte klinga av.