Titta/Lyssna: Erik Edsbagge Engström – Sista Silvret

Tidigare, vilket nu känns som för evigheter sedan, har vi skrivit om Erik Edsbagge Engström och hans upptåg som Ereden och E.E. Engström & The Twin Street Tree Trunk Love Ensemble. Det är inte mycket vi kommer ihåg, men det som etsat sig fast i minnet är för det första – välkomponerad och ambitiös musik – så det blir lite déja vu när han upprepar sig med “Sista Silvret” med sitt eget namn. Musiken påminner om en mer psykedelisk version av vad som slentrianmässigt kallas för “americana” – fast istället ersatt med “nordicana“.

Man blir upprymd av den nostalgiska samplingen i “Göteborg“, ett släng av det gråare men numera historiskt otillgängliga delen av Sverige. Trots att han avviker från det mer instrumentala måttet av singer-songwriter och inte drar sig från att låna in lite synthmusik, så passar det bäst med den mer lågmälda och tillbakadragna tonen i låtarna som helhet – även om vissa individuella låtar är bättre än andra – så blir det bäst när det lyssnas igenom helt och hållet.

Även om det rent generellt blickar framåt, så tar man ändå med sig mycket av det som varit, vilket blir fint på något sätt. Det är beviset på att man inte bara kan tro på “utveckling” som sådant, utan man måste veta var man kommer ifrån. Ni kan titta på musikvideon för “Hjärtat Därhemma” här ovanför, och lyssna till albumet i sin helhet här nedanför.

Review: STEREO NO AWARE – the sound of STEREO NO AWARE (LP)

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STEREO NO AWARE is completely new to us. Their sound is experimental rock’n’roll with psychedelic influences. We had the opportunity to receive the limited edition color version of the vinyl-release, which is beautiful in all its aesthetic glory. When it comes to the general aesthetics of the release there are too much colors for us and a coherent theme cannot be found – but that does not discourage listening. Each to his own. The aesthetics are on point when it comes to knowing from the first glance, what kind of genre and record this is going to be. The covers are very pattern-based when it comes to the outer layer of it, and more basic and down to earth when it comes to the inside of it.

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Lyrics for each song have been printed on the insert and is sharing the space with artistic doodles of different creatures, a computer with tentacles and something which looks like a freely interpreted version of Edward Munch’s painting “The Scream“. There have been many people involved in the making of the artwork itself (both sleeve and front cover), such as Jonathan Ash, Jane Nicola Rossi and Isaac Ashlind.

Now on to the music. The first song “Passing For A Ghost” is obnoxious in all its experimentalism at first, with the different voices and basic rhythmic beat, but it is swiftly sidelined into a more oriental vibe together with the ethereal mind of someone else. It is like there are different personalities on display within the song itself, like a madman talking to himself or an organic trip between a younger and older self. What is exciting about this form of rock’n’roll is that there are so many instruments that aren’t used normally.

From different flutes to what almost sounds like mandolins, but probably isn’t. They themselves call their music “experi-mental pop”, which might be an apt title to put on yourself, but I believe it is more then just that. Popular music has no bearing in their music, especially not in this first song. It is too “out there” to ever be popular in anyone’s mind. Probably why they used that play of words with “experi-mental” pop.

Tristram The Manipulator“, the second track is more coherent in the general sound and is a part of a huge soundscape which one could get lost in immediately. Though we’re not a fan of the almost rapped lyricism a bit into the song itself, the reverberating noise that the rhythm and baseline together with the drums produce – is astonishing in and of itself to make up for that lack of musical prowess. The vibe is switched from emotional and right up the funkier alley – right into 8-bit crunched up and claustrophobic beats. There is a lot of attention to detail in this song in general, where every shade of instruments gets a play in between the main rhythm (if there was one) and the rest of the song.

Yareta Yorona” is even more emotionally invested then the other songs so far. We’re not fans of the poetic side of the talked lyrics, though more of a fan of the stoner/psychedelic influenced vocals that appear further in. Attentively changing from a darker, more distorted voice to a louder and pitched one. Two different worlds that collide perfectly and make for nice moments. Everything flows so great together except the aforementioned babbled (though audible) lyrics. The singing parts are much better. Too bad that some of the outro goes into an obnoxious playful fogged up state, but it is saved by the more acoustic and sincere proper ending.

Cattle Calling” is messed up in a lazy way. It feels like they just let everything go, but at the same time the melodies in the song are on point. There’s too much experimental hitting on the drums, slapping on the baseline and churning on the guitar going on, until a desperate vocalist manages to save the good melodies with his voice – as it goes totally spaced out. An otherworldly sound complete with the influence of a saxophone – haven’t heard that instrument until now – but it gives off a jazzy and entwined feeling together with everything else. “Pagan Feelings” is like a continuation of “Cattle Calling”, it could almost be the same song, outro-wise at least.

The big difference between these two is that it continues down the same trodden path in which STEREO NO AWARE have made us aware of their talent. An experimental needle in the right position, delivering everything they can in terms of musicality to make up for their past mistakes. The common theme is the spaced out and less filled up, erratic soundscape. They leave silence to play a bigger part in the sound then they have before in the other tracks. Everything from the beginning of the song up until the end goes more acoustic, as it has been with the latest tracks we’ve listened to on this album so far.

Normal One” is the highpoint. They’ve managed too well to combine the organ with the drums and the vocalists ‘normal’ state. Had they not screwed up some of the rhythm by filling out the space left by the organ as it slowly disappeared, it would’ve been the best song so far. Though having said all of that, we believe it combines the best elements of their music and turn it up a notch – to make it believable.

Oaks Park” is perfect when it comes to the drums. Everything else is just a companion on this flipped out journey. They touch a deeper nerve with it and hold themselves together instrumentally. From the guitar-licks to the sharpened edges of the fast-paced strumming of guitars at some points, is replaced later on with an outdrawn saxophone that slows down the tempo a notch and bring a cloudy comfortable feeling of well-being into the mix.

As the songs grow longer, “The Great Dialator” adds a minute or more to the song in comparison with the others. Accompanied with a robotic voice, maybe this is the epitome of human and AI interaction – they can never convey that feeling which is human – they will never encompass all those facets of humanity. No matter how much Bladerunner 2049 will try and convince you otherwise. No matter how the futuristic automation will keep us from doing what we loathe. There is something humble about this song and it convey their more primal outlet.

Had they simply removed “Tongue Clouded“, the album would’ve been better off. It is a decent song, but it is so far removed from the feelings that have been given by them musically so far. Though one favorite part is the stern baselines that comes into the song, but one-two seconds later it is far gone. Just to arrive again. They could’ve built on that emotion further – it had a rejective theme to it and a more dark, sinister outlook on things then what have been made clear so far.

Conversely (Exit Tango)” is a mish-mash of everything you’ve heard so far. To get a grip on STEREO NO AWARE – you must listen to it. It gives you a grasp on what this album might be all about, musically. A very ambitious track and the longest one on the record so far, with old-school piano-playing and in more of a drunken haze then before. Imagine film noir gone completely decadent cabaret. Together with “Credits“, both are your typical outros but the first one was made into a track instead that clings to what have already passed (the other songs).

After having heard this it sounds like so much different music one have already heard, but they have something distinctly theirs. It would be interesting if they could develop it further, though they’ve already done it to good length already. Maybe this is the final product. A good album if you’re into experimental music – if you’re not, then this might not be for you. Listen to it in full down below (digitally) and do yourself a favor – order the limited edition vinyl – the colored one(s).

Listen: Genus Inkasso – Under Seals Broken By The Lean Solicitor

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The British are back. At least one Brit, whose name is Joris. J. I don’t know if he is a Brit, but he lives in Britain at least. He’s been manufacturing the most odd noise, the most uncategorizable noise, under this own name since he first released “Untitled”, his first self-released album. A year later he got his first official non-self-released track “Die Antizipation Des Generalized Other“, on the German label Der Schöne Hjuler-Memorial-Fond – a label that seems to be related (or dedicated) to a German art group called Mama Baer und Kommissarie Hjuler. But I’m not really certain of that. Since his two splits done with Ratbag as the first, Filthy Turd as the second, it seems like he stopped making anything under his real name, in 2011. Already back in 2009, he made his first album under the guise of Genus Inkasso, titled “Default Swaps” which was released by Abulia Concepts. However, at the same time that it seemed like he stopped with Joris. J, another album with Genus Inkasso submerged under the title of “Occasionally Slumping, Smiling Weakly“, put out by naboa music. This was in 2011.

Since then, he’s released an album titled “The Despised Pastora” which was put out by Grindcore Karaoke. But that’s not because I’m writing about his music, it’s because his latest mini-album “Under Seals Broken By The Lean Solicitor” was released just roughly two weeks ago on the New York City-imprint Immigrant Breast Nest. The three tracks that are featured on this release range from illbient to a general breakbeat mess, combined with an electro-acoustic layer that keeps everything somewhat in order. It is, however, noticeable that this sounds like something that was just improvised during a session. Take it from that and spin it into some remnant from the 1990’s hardcore-scene in Holland, just to bounce back into some undecipherable combination of noise and spastic movement. Just to have it change into a trip-hop atmosphere after you’ve heard some sampled piano mashed into a drier. Everything can happen between planned happenstance, what’s currently happening and how long it takes for the next thing to occur. It’s just how it goes with Genus Inkasso and his latest release “Under Seals Broken By The Lean Solicitor“. Stream the whole release down below.

Exclusive Stream: Boomruin / BMRN – Monochrome

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Working with different labels can be a tough one at times. Especially if you’ve got so much coming your way, that you can’t really sort everything out by yourself. But since I’ve had Justin Bieler from I Had An Accident Records over at the blog, everything’s turning out fine once again. He’s honored us with the ability to stream several of his releases, before they’re actually released. Since the music he releases on this label is experimental, unique and in every way fascinating to the fullest – we’re up and streaming once again. This time, it’s going to be the July batch of cassette-tapes. Up first on the 5th of July is none other than Boomruin (BMRN), a beat-slicer from the rainy world of the United Kingdom. His beats are very much a clouded, urban kind of thing. Harnessed with dark psychedelic atmospheres, utilizing the sound of jazzy down tempo. Everything goes along in the same tempo, only shifting with the atmospheric content, twisting your mind around itself. The release itself is titled “Monochrome“, and is a thirteen-tracked monster of a beast, which will be put out on a (C41) cassette. This is music I could consider myself listening to when in need to chill out, or simply when I’m out walking by myself in the middle of the night. It’s coming out on the 9th of July, together with two other tapes, which will be premiered over here in the very near future. If you want to know more, consider reading the IHAA press-release for it:

Originally released in 2012 as a digital download, the moving electronic sounds and heavy beats of Monochrome has been re-conceptualized into a physical format. The album brings forward fresh sounding beats that progress the sounds of visual electronics and psychedelic samples. Boomruin/BMRN is based out of the United Kingdom, he samples some of the bizarre and strange and layers a steady beat in a reinterpreted classic style. Movie style moments to comedy and jazzed slang, the album flows in a genuine manner with retro appeal. The monochrome theme represented in the artwork is a common thread that binds the album together and provides a contrast that is appealing and sensational. Limited to 70 black/white cassettes on cobalt tape.

Tracklist:

1. Monochrome Intro
2. Haz
3. Nights Interlude
4. Chewing Tape
5. At A Time
6. Locate
7. Going Down Fighting
8. Beatrolude
9. Shark Membrane
10. Month Of March
11. Colkakings
12. Rats (One For The Soon)
13. Audion

Spotlight: Insect Ark – Long Arms

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Resistance is futile, surrender yourself to the atmosphere. Everything will be fine in the end. With Insect Ark, the debutante Dana Schechter, is slowly but surely morphing us into intellectual beings. Earlier, she’s also worked with Bee and Flower and M. Gira’s Angels of Light project. She’s got her base of operations Brooklyn. To be frank, she’s already released a 7¨ titled “Collapsar” on Somerset Records. However, she’s releasing her first EP, titled: “Long Arms” which feature swirly doom-passages, calmly oriented ambient, naive drones, a hint of sludge and noise rock – with a tip on the iceberg dedicated to the jazz-induced hallucinations that simply wants to shape you up. Experimental is the codeword, avant-garde is the common denominator. You’ll be indicted into the world of Insect Ark after you’ve listened to the EP, she will never let you go once you’re hooked on this wonderfully eclectic music. The EP itself can be bought for 11 USD over at bandcamp and you can listen through it down below. See you at the opened gates down below.

Nr. 001: Katzenjammer är numera KatzKab!

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Välkommen till SLÄPP MIG! Ett slags avgörande slag i både text men utan bild. Eftersom att det bäst lämpar sig i text, så kommer det att förbli så. Med hjälp utav den digitala världen, en språngbräda och lite tid, så kommer detta att urarta till syvende och sist. Från början var det tänkt att bli ett ambitiöst projekt i podcastform, men på grund av strulande teknik så blev så inte fallet. Det här är tänkt att vara ett undersökande projekt, som mest kan liknas vid ett zine, fast på internet istället för i verklig form. Om man dessutom har lite mer tid över, så kan det även innehålla de mest grundläggande musikreportagen och de mest (o)ambitiösa recensionerna. Förutom detta kommer det förmodligen även att innehålla längre intervjuer, samspråk, utveckling och allmän livslust. Eftersom att det inte verkar finnas särskilt mycket konkurrens, så är det bara att slå upp portarna och välkomna oss. Kanske ses vi här i framtiden, kanske ses vi inte alls. Allting kan hända och det är mellan himmel och jord som det utspelar sig. I den första vändan av SLÄPP MIG! kommer ni att få recensioner och kanske en artikelbaserad krönika eller liknande, där den som är värd för tillfället, spyr ur sig vad vederbörande tycker hör hemma där. Det här är Nr. 001 i storleksordningen, som går under namnet “Katzenjammer är numera KatzKab!“. Innan vi börjar att spänna musklerna ordentligt, så mjukstartar vi med bland annat KatzKab, Safewords, entertainment for the braindead, So So Modern, Tiffany, Death And Vanilla, Fatal Nostalgia, Aga Wilk/Marburg och Violetness. Denna gång är det dock dags att recensera “Objet No. 1“, vilket är fullängdaren som KatzKab släppte i Januari detta år.

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Shevils släpper ny singel!

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Norrmännen är igång igen och visar sitt ansikte, denna gång i form av det norska hardcorebandet Shevils. Deras hemlighet ligger i den pulserande blandningen av både skandinavisk hardcore men även en ådra av gammal hederlig amerikansk rock’n’roll. Förutom detta kan man även spå en del jazzinfluenser, så med andra ord ligger de alltid på gränsen. Tur är väl det, med tanke på att de nu har släppt en ny singel från deras kommande album vid namn “We Walk On Shattered Glass” som sannerligen spränger bort glasfasaden med det långsamma, men ack så hårda soundet. Dessutom så spelar de live tillsammans med det norska punkbandet Exploding Head SyndromeKarateklubb #4 i Oslo den 13:e Mars, för att fira singelsläppet. Luta dig tillbaks, spänn fast säkerhetsbältet – för nu blir det genrebräckande kvalitétshardcore för hela slanten.

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