There’s a Canadian indie-label that emerged in 2008, that have just put up a forthcoming release for digital streaming. It’s a label called Artificial Records – and their latest addition to their quick growing discography is an album called: “Definite Hiatus“, produced by Coarse Language—an artist (or group) unknown to us. A suitable description for their music would be “deranged electronica“, since the erratic beats and paranoid whispers conjure a prime setting for weirdness. One could also name it experimental minimal wave, but there are so many different influences at play so an umbrella term is hard to set for this kind of music. Not to mention how their melodies swiftly change, with dark baselines that draw out the worst sides of mankind in a musical setting. Multiple personalities, or alter-egos, which make the arrhythmic noise seem more friendly from one track to another — but be on your guard because they’re predators. Sometimes the melodies take the upper-hand but there’s always a minimalistic reminder of how shrouded, clad in spikes, dressed for destruction their environment is — thrashing melodies, relocating sound into bizarre harshness.
We’re not that interested in the psychological aspects of the sound, but rather how it is audio-visually—a thing Coarse Language seem to know how to do. They’re perfect alarmists with a subliminal message, whether it was originally intended for it to be like that, is not something to take into account. But a lot of the complexity in the sound reveal that another more obvious vein shows—a repetitive message (lyrically) which is contrasted by the sheer amount of invention—they seem to possess. If we’re wrong, they might even be playing with illusions to deceive; with their maniacally tedious passages later on in other tracks on the album. Even though it only contains six tracks, it’s a gem that you might not appreciate right away—rather when you’re able to sculpt your own interpretation of them. Listen to their release down below and buy a limited edition cassette (50 units) from Artificial Records — if you want a physical item.
Time for your daily Spotlight. It’s been lacking from my side, since there’s been a lot to cover when it comes to exclusive premieres – but not much when it comes to regular bands that you stumble upon – or artists. Since it’s been a long time, I want to introduce two of the more peculiar acts that I have found when scouring the internet: specifically Bandcamp. One of the bands are from the UK and the other is from Spain. ZX ELECTRIC is a band that plays weird krautrock with the occasional stab of minimal synth and post-punk, whilst Asesina are the Spaniards whom has a singer that really can’t sing – but all the better that he can suffer, because that’s what it’s all about – it seems.
“Negative Outline” is the latest release that ZX ELECTRIC can offer to the world, having released two other albums earlier, titled “Obsolete” and “Fixed Unknown” – a rather odd blend of genres that shouldn’t be mixed, really. But there’s something about the latest album that signals to me that they’re serious. How can you even manage to fit in krautrock with minimal synth? I get that it can be applicable when it comes to post-punk, but not the other way around. However, they manage to create a rather melancholic image which they spit upon, managing to fit a semi-acoustic environment somewhere in between each track. I like the singer’s voice, it’s sincere but rather goofy at times. All the better then – that his rhythm is intact and his groove is where it should be – when the synthesizers slowly grace him and fill up the sound-scape. Not to mention how cold-wave helps to keep the semi-acoustic trance to a pleasurable level, where you just nod your head to everything you see around you.
What striked me when I browsed Asesina, were their marvelous aesthetics. The slick lines that are pleasing for the eye to watch, alongside a rather odd – almost dragon-like – goose that feeds her youngin’. Maybe this has something to do with where they’re from in Spain, or maybe not. I, however, really like the way this becomes their insignia. Enter bleakness with “EP“, their first release. Together with the bleakness that appears through using black and white. When it comes to their music, I must say that I don’t know if I should hate or adore the singer. He can’t sing. But thanks to the psychobilly, surf punk or whatever they’ve mixed together into a mish-mash of difference and alikeness – his voice gives a touch of severe angst that doesn’t go away. The best thing about it is when he screams in his own language and I don’t really get anything. I don’t really want to know, either. Noise rock goes well together with every other genre they’ve plucked asunder. The good thing about it is how their low-keyed sound-scape makes you wonder when they’re going to step into black metal territory, but that really never happens – full-scale. A good listen to anyone whose interest lays in any of these more obscure genres – especially when mixed together.
Humming away into a world of their own, Futuroscope is more than just a brief hum. Their music is somewhere between krautrock and psychedelic rock. With their debut-album “Hum“, a low-keyed approach is spun into an eternity through psychedelic rock’n’roll and outdrawn but loud krautrock. The band itself is made up by Jean-Baptiste Geoffroy (Pneu, Papare), Julien Nicolaï (The Finkelnauts) and the guest-star Chacha Charasse (Boogers) – with everyone descending from France. Albeit some of their tracks might not be that much of a deal to listen to, tracks like “Moon” bring out the joyous moments that are hidden from plain earshot. To complete psychedelic ballads like “Warm Walking Day” which make you feel like you’re out of water, walking astray in the desert, with heatwaves bruising your already sweaty self. I like how the rhythm of the drum make you off-bound to the general feeling of the songs, as uncanny melodies are taking place as the main feature. Following throughout like a line in the sand is a rather ritualistic experience which takes a hold of you when you listen to it. There’s a certain weirdness attached to it. This album was released by Monofonus Press the 4th of June, on cassette. Listen to a snipper from a track from the album, down below. You can buy the physical cassette over here.
Some of the French are always up to something new. At least this isn’t an odd thing, thankfully. Other things could be said about the band VVVV, which fall into this category. They’re odd, or at least their blend of different genres, in becoming a somewhat supreme experience. Currently, they’ve released an EP titled “Cuerpo EP“, which is just an endeavor in itself. Think of modern electro, not as it should be, fixated with krautrock and tightly knitted to a psychedelic sense of post-punk avant-gardism. Yes, this is the decadance that you’ll shake your shaken hips to in a matter of seconds. At times, it’s too electronic for my taste, but it doesn’t stop oneself from digging the monotonic, albeit sufficiently layered cream of the crop – namely the witty synthesizers, clinging to the beat. From the first song and on, it just gets weirder and weirder. Hear the percussion garner itself in the hellhole that can be VVVV, as the modesty of the singer’s voice turns your frown upside down. A moment ago, decay and darkness would seem to be the only thing alive. But when you cut the corners, they blend those elements with an unused sense of appreciation, channeled into the atmosphere. So there’s a sense of hope, at the same time things come to a grinding halt. Rhythms couldn’t be more unconventional and the mixture of the different genres blend into a weird kind of psychedelic notion, a notion that is originating from their original idea. Simply something you couldn’t think of yourself, so you need to hear it first. Yes, this is something you must listen to, whether you prefer it or not. It’ll change a lot of things. This release feature three songs and was released on the 15th of May, almost totally D.I.Y.
Urban Homes is much more than the name entices you to believe. Besides it being the latest release on Altin Village & Mine, it’s also a hefty bag of non-electronic music meets electronic. Imagine yourself standing on a top of a mountain, hearing this piece of music. I’ll promise you that you’d be stunned. It’s music that you should listen to when you’re outside, because it’s so spacey and grandiose that you’d loose yourself to the fever of dancing in a confined space if you’d listen to it in your tiny room. It’s everything you’d always want, taking influences from Balearic pop, dub, kraut rock and disco – with many other genres not named. The rhythmic monster that forces your body to move itself is stunning in its own setting. With that said, this five-tracked release has everything in between what you’d consider to be glorious. Simply, the astonishing atmosphere of the songs are breathing in their own right, as they sweep through the landscape on a journey to please your musical tastes. Top-notch musicality, which could be said pleases everyone that hasn’t considered to have a peek into their world yet. Delve into the ocean of things, find Urban Homes and start dancing along all the way through the influence of rhythmical movement, atmospheric delight and considerable melodies. It was released on the 15th of March but is premiering here in Sweden a little bit later, because we like to keep it like that. You can buy it if you like it, over at the Altin Village & Mine shop either as a CD or LP for 10 euros.
Have we got something for you right now! First up is The Straw Men, which basically was a post-punk/alternative band from the Sydney 1980s and they’ve re-released some forgotten material from their album “inland sea“. They’re really unconventional when it comes to post-punk, as they deploy some more funky and blues-oriented sound combined with that particular genre. At times, they sound like a combination between Au Pairs and some other unknown band that I can’t really categorize. Every single riff, the drumming and the atmosphere tells a story in itself. I would say that they don’t even need any lyrics, because you can tell by the sound-scape that it’s a whole adventure put down into the mix. There’s always been some different takes from Australia when it comes to post-punk, which is appreciated. You shouldn’t underestimate their employment of the psychedelic elements either, since they pull it off perfectly. The songs featured on this release range from “Refugee Stomp” to “Into The Night“, and it seems like they’ve self-released it.