Exklusiv Premiär: Celldöd – Våldsamt Motstånd (Mix1)

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Igårkväll så gjorde Celldöd, enligt en trollbunden publik; en av sina bästa spelningar någonsin. Han uppträdde, precis innan legendaren Douglas McCarthy’s samarbetsprojekt Fixmer/McCarthy gjorde entré – som huvudakt. Detta utspelade sig på Nalen i Stockholm och har garanterat etsat fast sig i minnet på konsertbesökarna. Förutom att han gjorde det kan skulle och det med bravur enligt många som var där, så var säkert Fixmer/McCarthy ett ögonblick att minnas. Tyvärr så kunde man inte närvara eftersom att det rent geografiskt var avlägset. Men däremot kunde man höja ögonbrynet på ett antal Celldöd-fans med hjälp av att få lägga upp en exklusiv låt. Det var nämligen som så att Anders valde att släppa en kassett, i oerhört begränsad upplaga om tio kassetter – vars namn är “Affektiv Storm” – som enligt uppgift redan är slutsålda.

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Eftersom att det var många som inte skulle få tillfället att äga kassetten, så lade Repartiseraren i samarbete med Celldöd upp låten “Våldsamt Motstånd (Mix1)“, en låt som är tagen från den kassett han hade med sig till uppträdandet på Nalen. Det är en väldigt kaosartad låt som förvränger det redan förvirrande konceptet av Celldöd, ytterligare. Man vet aldrig vart man hamnar när Anders är den som vrider på rattarna och får den ena ljudbilden efter den andra, att låta helt annorlunda. Här är det mer synthpunkigt, mer rått – primitivt som attans. Så för alla er som inte fick tillfället att äga kassetten, kan i alla fall få tillfälle att lyssna på en låt från den. Lyssna här nedanför.

Exclusive Premiere: Zex Model – Rokk

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Pink Sexdeath, Degenerate Slug, Demon City Reaper? Three names have one thing in common – they’re all names thought out – and executed in musical form, by a man living in Kaliningrad, Russia. Not only does he have all those alter-egos, but many more that I won’t list. He is or have been a part of two groups called Modern Howl and Ninika, each one different from the other, but also closely knitted together by darker genres. Even though he’s had a lot of projects going on at the same time, he’s dabbling with a special kind of project which he calls “Zex Model“. This musical project started out not too long ago and pushed him further into musical obscurity than what you’d think. Considering this, his project has risen in popularity since his first releases – and opening for Lust Of Youth in Russia. With his official debut-album “Mind Slaughter” having been released on desire records in 2013, and a self-released EP titled “First Mutation” – he solidified his presence further. Once a darling in the brooding underground, now a good rated artist fit for another level in the underground.

Simultaneously in another part of the world, a man by the name of Fade Kainer (Theologian, etc) self-releases his first album “Mask Visions Poison” under the name of Statiqbloom. This is in 2013. America have gained yet another notable industrial-act that strays away from the cliches, and embraces their own version of what inspired them in the first place. Meaning; they decide to twist the originals of the 1980’s and 1990’s by layering their own vision upon the ground which those men built upon. The building blocks are on a steady ground. The album itself sells out on cassette and remains on CD up until now. Two alternatives offered, one bought and sold. Even though both Zex Model and Statiqbloom are very much alike, the last-mentioned relies on heavy electro beats and a body rhythm, whilst Zex Model is utilizing the rough texture of industrial on experimental soil; to the maximum. Then we entered 2014 and brooding for Statiqbloom was yet another album which he gave the title “Black Mirrors“, released only on a limited edition cassette. This was to be a release before two kings met up and decided to build upon a platform settled by them both, and others. Diplomacy entered the game and here we are.

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Fast-forward to later October, early November this year and you’re in for a treat. It was only a matter of time until desire brought these two new-comers closer together. In regards to their sound, it was a sound choice. Zex Model and Statiqbloom engage in a split-release that features eight tracks in total and four tracks by each artist. The apt design for this release is what Fade Kainer thought out and did. From the first four “Atropy Of Three“, “Contaminate“, “Slow Void” and “Behind Glass (Second Pane)” courtesy of Statiqbloom on side one. To side two featuring “Forbidden Alterations“, “Rokk“, “Teosophia” and “Tokyo Blitz” by Zex Model. I chose the second track “Rokk“, because of the atonal message that is what makes his project what it is in the first place. From his ode to Skinny Puppy and the likes, to his experimentalism that fiddles with a classic industrial atmosphere and makes the atonality spin the wheel – a confusing sound which at first obfuscates the rhythm – but later on is quite a trip into the originality of his project. A harsher version of Nexus Kenosis might actually find a way through your mind, intentionally or not. Stream the exclusive track “Rokk” down below and see to that you buy the vinyl from desire records when it comes out, if you like what you’re hearing.

Listen: SARIN – ROTTEN

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Pseudo-fetishism, new beat, guerrilla warfare through electronic beats and an obsession about Mad Max, 80’s-90’s thrillers and action movies. Hear how the wastelands of degeneracy crumble into one act, Toronto is beyond rescue and I feel like Travis Bickle wishing for the rain to wash away all the filth. This is the first EP by SARIN, a shady act transgressing into “Rotten” – which basically sums everything up. With a heavy dosage of samples from everything you could think of, together with harsh electronica and whatever sub-genre most fitting for the song, synth-pop, electro and electronic body music is channeled within the landscape of sound that build it up from the ground. I’m not too amused about the connotations about drugs, filth and complete lunacy that it gives away. But threading in the middle-ground and almost entering industrial cannot be a bad thing. Especially not when the synthsizers stab and you find yourself enthralled by the rapidly changing sound. Taking in everything from the influences and throwing it out the door again. Not to mention the rhythm which stops and goes as it pleases, much like a puppeteer using his threads to make his subject (you) be in touch with what ever message SARIN needs to get through. A lot of the tracks on this release are hypnotizing, some are completely ridiculous but get back their steam when they change the direction they’re heading in. It’s all really confusing if you’re not into it from the start, or know anything about it to begin with. But fear not, just try to get into it in whichever way you see fit.

Deth Records seem to know what we’ve been missing out on from Toronto. With this new release, the third in a row from this label – they explore yet another dimension of what makes them great – which is the sheer originality their acts display. Even though one could say that they pick and choose of what they’d want to imitate, in the process of doing that they create something unique. There’s a certain kind of vibe to everything which comes out of this hellhole called Deth, but it’s a place you’d want to be. So I’ll keep a close eye on the different releases that will continue to flow through. If you haven’t already, you should also check out the other releases, like “Semblance” by Vierance, or the first compilation titled “DETH Vol. 1” which features everything from HUREN to SINS and beyond. It is a release to get started with. Now listen to “ROTTEN” down below and stream it however many times you wish. If you like what you’re hearing, consider buying the limited cassette before it is sold out.

Exclusive Premiere: Hadewych – Riss

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From darkened shamanistic rituals in pre-medieval ages, to the futuristic hopefulness of ritual ambient. Somewhere in between that and if you slice a big portion out of it, you’ll find avant-garde to be a part of their repertoire. Hadewych is just that, somewhere in between the looming avant-gardist ritual ambient, but with undertones of primal rock’n’roll with metal. When their debut-album emerged back in 2007, they were more concentrated on neo-folk then anything else. Somehow, they combined the efforts of their industrialist past maxi-single “Ende” from 2004 with the urge for something new in 2014. Therefore the release I’m about to talk about now have some roots found within it that can be hinted back to their latest release up to date, called “Ēoh” which featured a mix of old rehearsals to proper new tracks. It’s a perfect transition to what’s to be called “Nu“, where they break their old bonds and move forward into the sound which they’ve concocted over the years. It has somehow always been present in one way or another, but simply not been formulated good enough to have been harnessed earlier. Black Horizons is the label they’ve set out to be a part of with their forthcoming release, as it is being put out on a limited cassette by that label. With clever signatures like Hodiamont, Jongen, Scramasax and Lucia. M Peter Nÿland or Nÿland II as he is credited as on “Ēoh” – have the world at their feet. Some of these members have also contributed to a track on the acclaimed compilation “The Totality Of Death” by Trepaneringsritualen (Thomas Ekelund). So no wonder if any of their influences might’ve been caught up from Thomas Ekelund. Peter Nÿland is also a part of the mysterial duo Distel, which have also garnered their following with releases as “Puur” and “Ultra2012“.

Now when they’re almost ready to be put out on Black Horizons on the 79th release on that label, things looked bright for Repartiseraren. I got the opportunity to pick a track from this three-tracked release, whereas it so happened that I chose the dark side. With that I mean the atmosphere of this track is so baseless yet fluid, as it is backed up with organic instrumentation which is not electronic to the least, or so it seems. A gloomy landscape which is complemented by the whispering of Peter Nÿland and his authoritarian voice. Since it’s featured on the B-Side of this cassette (C18), there’s a notable difference from this one and the other tracks – even though it can be contested that they’re dark too. But this is something difference. The slow build from a drone-ish landscape moving forward with a complex rhythm that suddenly slides through the landscape at a macabre speed – not to be confused with tempo – is enough to love it to your heart’s delight. You can find virtually every piece of equipment and more than that with this track. Everything from classical instruments to different musical instrument you might not find anywhere else. Or not utilized as good. As the wind is breaking through the landscape of sound, I gratefully present to you an exclusive track called “Riss“, a track that will take you into a whole different mood and also play with your sense of belonging. Listen to it exclusively down below and buy it from Black Horizons when it comes out.

Listen: Hollowfonts – XLVIII

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The crass musique concréte is the way to go. Hollowfonts delve into a largely unattainable atmosphere through field recordings, noise, drone and musique concréte as the main components of this landscape of metamorphosing sound. With the man Michael J. O’Neal behind the steering wheel, this experimentation in sound is way above the expectations. His recorded material from 2013-2014 have been assembled into a limited cassette titled “XLVIII” – making this his debut-album on Phinery; a record-label based out of Denmark. It delves into a certain kind of industrial landscape, maybe a post-industrial one. Showcasing each component within the sound-scape, utilizing the scrapped metal writhing into an ambient, almost hallucinatory landscape. The brute intentions swirl into themselves creating a magnificent landscape which is probably out of bound for any human. A spaced-out drone is compiled between the desecrated landscape, an equivalent to a Mars-landing for the first time. Houston has no problem with indulging himself into this suspense-ridden atmosphere. Within the blink of an eye everything can be changed into something more sinister. It’s like going against a sandstorm of mighty sounds that just think nothing of you, as nature has its way. It is also going out of its own way to be fatiguing to the mind and body. I feel a certain kind of strain on my ears when I listen to it, a draining feeling – but I must keep going. The album itself can be bought from Phinery, the cassette is limited to fifty copies and you can listen to the album in full, down below.

Listen: Ashburn County – Cracks In The Wall (Alternate Mix)

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Ytterligare ett alster kommer från den stora Beläten-maskinen. Tre låtar som blivit släppta från tre kassetter som nyligen gick upp för beställning. Detta är ett av släppen, Ashburn County – ett slags samtidsdokument över både en svunnen tid – men även ett skapat ur sig självt. Plattan i sig heter “Our Dead Selves Rise“. Influerade av den lantliga miljöerna som omgärdar Louisiana, så har de dragit inspiration från gamla bondläppsfilmer. Filmer som sällan gjort något större avtryck, åtminstone inte när det kommer till filmen självt, men som via sin filmmusik inspirerat Ashburn Country avsevärt – och som gjort deras grupp till vad den är. En av medlemmarna ur denna grupp, Leroy Delbert Quebedeaux, bestämde sig år 2012 att ta saken i sina egna händer, att producera filmmusik till en film de annars gjort – om de haft pengar till att göra det. Detta resulterade i en blandning av fältinspelningar och diverse instrument så som dragspel, tromboner, röster, synthar och cellos – för att nämna ett fåtal av de instrument som använts i skapandet av denna platta. Det viktigaste med musiken är dess influens av traditionell folk och ‘Cajun’-kultur, enligt dem själva. Detta i samklang med drönande synthar, gamla rytmiklådor, neoklassisk pompa och ståt, samplingar och mekaniserade oljud. Ett slags industriellt kollage.

Eftersom att deras beskrivning av vad de gjort var i det längsta laget, så lämnade det rätt mycket att önska. Men deras inspirationskällor är intressanta och faktumet att de använt sig utav alla dessa instrument i samklang med varandra, skapar en helt annan ljudbild. I just denna bild så blir det en väldigt skrämmande tillbakablick i något som annars skulle ha varit hyfsat humoristiskt, med tanke på dessa filmers innehåll, varav inspirationen är hämtat ifrån. De mörka samplingarna i jämförelse med de dansanta röstslingorna gör så att man känner att man är ute i det vilda. Det finns någon slags primitiv energi i denna minimalistiska ansamling, som skulle kunna vara det som gör att det finns en gnista i ljudlandskapet som återupprepas. Med tanke på att själva konceptet är så intressant så blir det ännu läskigare när man hör de utsuddade rösterna tala med varandra, i jämförelse med den konstanta och fixerade rytmiken som går i ett och samma hjulspår genom låten. Rent jämförelsevis så kan detta mycket väl vara ett ljudexempel på skillnaden mellan den härskna, hatade och fruktade betongstad som snart vräker sig in och ner i de dalar och snår som stått orörda ute i den lantliga miljön – i århundraden. En väldigt bra låt och precis vad man kan förvänta sig att Thomas Ekelund ens skulle kunna ta med i tång. Det finns en väldigt hög lägstanivå på det han väljer att släppa ifrån sig på sin etikett. Ni kan lyssna till låten “Cracks In The Wall (Alternate Mix)” här nedanför.

Listen: Michael Idehall – Spiderwoman

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Det känns som att det var ett bra tag sedan som Michael Idehall var i strålkastarljuset. Åtminstone om man ser till täckningen för hans album “SOL” som kom ut 2012. Men visst är det förståeligt, eftersom att han inte släppt ifrån sig något på väldigt länge, utöver enstaka alster här och där. Michael hör verkligen hemma hos Beläten, det är där han kommer till sin rätt, tillsammans med den brutalt råa och mörka estetik som Thomas Ekelund låter representera både hans åtagna livsuppgift – men även för de artister som hamnar under det omakligt stora paraplyt. Om man ser till den låt som lades upp på Soundcloud av Herr Beläten själv, så kommer “Spiderwoman” väl till sin rätt med sin apokalyptiska och stormiga stämning. Detta är nämligen Michael Idehalls senaste alster från hans kommande släpp på Beläten betitlat “Deep Code” – som utkommer den 12:e Maj. Egentligen så får man inte vara så här hård när det kommer till dansmusik, dessutom får man inte ha så råa övertoner, för det krossar verkligen allt motstånd som någonsin ens skulle våga sig nära tronen där han sitter.

Underjordens okrönkte konung inom apokalyptisk dansmusik i harmonisk blandning med allsköns influenser men främst den rytmiska noisevagga som han hämtar allt sitt mästerliga gift ifrån – han förgiftar oss med sin makabra uppståndelse – och slår ner hårt på de som ej redan blivit troende. Varje gång den markanta bastrumman slår ner så låter det som om själve Tor och hans hammare spikar ner den sista spiken i den underjordiska kistan. Blixtarna slår till och ger upphov till den svängiga ljudvallen som spräcker trumhinnor så långt det än må höras. Det ska bli spännande att se vad som sker i de andra låtarna, men om de skulle vara ens i närheten av detta ljudlandskap så måste vi förmodligen lägga ner tangentbordet och packa ihop, det är ändå inte lönt att beskriva den mästerfullhet som med bravur svingas i kraftiga slag mot allt vad vår heder heter. Jag ger i så fall upp och låter honom stå som nummer ett året ut. Ni kan själva lyssna till “Spiderwoman” här nedanför.

Listen: Tomas Nochteff – Pagan Easter

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A name like Tomás Nochteff might not ring any bells, but if you consider the fact that he’s involved with Mueran Humanos, you might know of him as a part of that artistic duo. He’s an Argentinian musician that in 1992 started the group Dios – together with Javier Aldana and Pedro Amodio – a group which in itself over time became a cult-group in Argentina. When the self-titled album was released in 2001, they broke up, and three years after that, he released a solo-album under his own name, called “Le Beat Juste“. Exactly on the time when he decided to move to Berlin in the 2000s, he found Carmen Burgess and officially founded this duo, Mueran Humanos, in 2006. They’re probably most known for their first self-titled release on Old Europa Café. But, since time passed and they released “Culpable” – a 7¨-release in 2012, as well as the maxi-single “El Circulo/La Langosta” in 2013 – he moved onto what became a continuation of his works under his own name. A solo-project that was continued where it was left off in 2006. Before we get to that however, we must also shed a light on the split-release he did together with the Spanish musician Arnau Sala Saez, titled “Música Para Disciplina” (Music For Disciplina) – intended for an art show called “Disciplina” – featuring the works of Gustavo Eandi at Galería Logo in Sao Paolo, Brazil.

Now, if we’d adjust the clock and set it onto 2014, Tomás Nochteff continues his trip as a solo-musician with the release “Pagan Easter“. Now in April, fittingly enough, Noisekölln Tapes – a label based out of Berlin  – decided to put this release out on a limited edition cassette. His guitar-driven industrial music is more than it sounds like, a grandiose outlook into droning guitars and ambulant noise. Fading into a long-going atmosphere of the most substantial sound even to be found within a genre like this. Focusing more with the help of hardware, on the analogue aspect, giving a whole other warmth to the instrumentation. A rather grainy expedition into the heartland of noise and industrial combined, entwined with other influences. With the help of three pedals, strings and channels – the music was created during three days in Easter. Mind you, he once released it on cassette for his friends, limiting it to only nine tapes. So Noisekölln Tapes are re-releasing this music onto an edition of thirty-three cassettes, symbolically enough one would think. Stream the whole release down below and buy a tape if you’re interested.

Spotlight: Ōgon Batto – 007 / Ōgon Batto

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The seventh release by Hare Akedod – a label specializing in electro-acoustic “improvisation rituals” on limited cassette-runs – is Ōgon Batto. It stands for Golden Bat, in Japanese; “黄金 バット” – which is a Japanese superhero invented by Ichiro Suzuki, a Japanese illustrator, in 1930. Symbolizing what came to be the first superhero of Japan, at least when it came to cartoons. References to this character have been made in the anime Paranoia Agent, for example. This first release, however, was created by someone whose real name is Bent Von Bent. He also created the beautiful artwork for this particular release of his own. Bent has a history of being involved in different releases on Hare Akedod, specifically on the first release “001” with various instrumentation, whilst David Edren took care of the synthesizers and guitars. David shares the label with Bent, as they run it together. Anyhow, Bent was also a part of the second, fourth and fifth release – in the same kind of way. This seventh release marks a third year of releases, together with Hare Akedod and Forklong Daruplat before this one. Even though a lot of the electro-acoustic music on this label don’t touch me emotionally, this seventh release manages to do just that. Carefully laden guitar-chords that make up the landscape of sound, together with improvised selections of riffs that – together with the swirling and sublime background guitar – make up a wondrous atmosphere that is relaxing to hear. Another thing which makes this music even more exciting is the locations at which he’s recorded field recordings in. To get a local kind of vibration to everything, he’s recorded on site at Xi’An (西安) in the Shaanxi province of China and in Sapporo (札幌市), the fourth largest city in Japan. The intensiveness of the music itself is laden into place with a mellow string of variation instrumentation. Some kind of chaos is brewing down below.

You can fetch the release through Hare Akedod themselves, or soon through distributors ex-Vinylo in France and Tomentosa in the US at the moment – as more international re-sellers will appear. The cassette itself is limited to 80 smokey clear tapes with white print in a black cassette case with black screen-printed golden j-card and fullcolour insert. The music was recorded on site with Field Recordings in Xi’An and Sapporo, but the release itself was recorded in studio with everything else at Zol Der Wahn, whilst the first, fifth and sixth track were recorded by Roest at Jocques & Die Scheldebunker. Synthesizer on track number five, namely “Bunker Symfonie IX : Opmars“, was recorded by D. Edren at CEM Rotterdam. Artwork for the cassette was made by Bent Von Bent and the cover-photograph was taken by Roest. Everything you’re hearing was recorded in between 2013 to 2014, with the assistance of others, but mainly by Bent Von Bent. Stream the whole release down below and listen to it, carefully.

Interview with Jakub from Unattended Funeral!

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Unattended Funeral is a powerviolence/grindcore/hardcore band that have existed in the peripheral of Slovakian extreme music, until they released their self-titled debut-EP cassette (limited to 100 copies), in the beginning of May. The members of this band are Dano (Guitar), Michal “Fokular” (Drums) and Jakub (Vocals). It is perfectly noticeable that this band isn’t their first band, because they’re also playing in bands like Möbius and Boiling Point, which makes this even more interesting. When reading their biography, it clearly states: “a desperate call for an utter annihilation of mankind“. This line, in combination with their release, made me interested in interviewing them about primarily that – but also their release, D.I.Y., the scene in Slovakia and much more. Tune in, step down from your throne and read!

First and foremost, who are you and why are you calling for the total annihilation of mankind?

– Hello, my name is Jakub. I’ll turn 27 soon. I teach English at a secondary school. I love noisy music and skateboarding. I fulfill the vocal duties. Other members of the band are: Dano as a guitar player. Dano works at a cultural centre and he’s really into sludge/doom, movies and he’s super talented in many things. He makes flyers for shows, he can repair stuff etc. In comparison to him, MacGyver is nothing. Michal a.k.a. Fokular plays drums, he’s into graffitti, he works in a skate-shop and is interested in punk and leftist politics.

The path mankind has chosen is very destructive and If nothing changes, there´s no other way than that. But I am not a complete pessimist. Maybe we can change this system and choose a different one with a bigger respect to nature and individual human beings. This requires a total change in the way we think and this might be very difficult. I strongly believe that the current capitalist system is not the best one we’re able to maintain as a society, although we are daily taught and persuaded that so is the case. I don’t agree with Fukushima, that this is the end of history!

This seems to be your first album, from what I’ve seen and heard. Could you tell me about the making of this album?

– Although we have existed for some years, this demo is our first record. It took us maybe three years to make it (lazy huh?), but I think it was worth the waiting. We recorded it in our friend’s basement D.I.Y. recording studio. His name is Blum and he plays the guitar in a great czech band called Gattaca (check ’em out!). The cooperation was really cool because he´s a very nice and helpful person and we didn’t have to care about money or lack of time. It took us just a few hours and we also recorded some songs with our other band called Boiling Point.

Do you have any kind of “scene” for this music in Slovakia, since it’s where you’re from?

– Yes, we do. There are some bands worth checking out. Depends on what are your music tastes. There are some good crust bands such as Roxor or Beton, Systemic Damage play oldschool grindcore in a vein of Terrorizer, Ilúzia play a mixture of punkrock and folk music. Weird powerviolence is represented by our buddies from Vocatio Interna and from the same region are The Public, who released tons of stuff and play kick-ass powerviolence.

Have you got any songs recorded that didn’t make it onto your self-titled album release?

Well, we used to play some more songs, but we didn’t rehearse for a long time and we simply quit playing them, because we couldn’t remember them anymore.

You’ve also had some help from other people in the making of the album, amongst them is the label Analog Freaks. What has it been like to collaborate with these people?

– Well, since the people in Analog Freaks are the same people as UxFx (except one dude) the cooperation was really great, hahaha.

Also, there’s a lot of focus on D.I.Y, but what does it mean to you in the long run?

– It means that we try to be as independent as possible. The stuff we´ve already done with our bands was released either by us ourselves or by our friends and small labels. We have never visited a proper studio, all of our stuff was done by our friends only. We play only for the gasmoney and we sell our stuff cheap. Since we also started doing a label of our own,  we gained even more control of our releases and that’s good for us because they can look and sound the way we like. Last week, we made a release show for the tape in a large shipping containter (you know, the one carrying goods on the boat etc.) and it was amazing. We didn’t even need a proper club to play the show and it was a blast. You can check the photos from the release show at www.analogfreaks.net. It was a blast!

What kind of bands and/or artists have been influential for Unattended Funeral?

– There are many styles and bands influential for UxFx sound. We consist of three individuals with slightly different music tastes. I guess we would all agree that sludge/doom bands and the new wave of powerviolence bands such as Weekend Nachos, Iron Lung, Agents of Abhorrence influence our sound a lot. And our drummer is a huge Insect Warfare fan, but we’re not that harsh, hahaha.

Since you’ve released your album some weeks ago, do you already have plans to release something new this year or are you going to play live or something like that?

– This is a difficult question. We haven’t made any plans yet, but surely we’d like to release something more in the future. Due to lack of time (we all go to work etc.), and other bands we’re involved in (Möbius, Boiling Point), I don’t think it will happen very soon. Now we´re concentrating on a new Boiling Point s/t EP, which should be out in June, and because Analog Freaks are co-releasing that, we’ll have a lot of work to do.

Could you tell me why someone should buy one of the 100 tapes that have been created for this release?

– Well, I think we worked really hard on the tape. The tape looks kick-ass and the music is very solid. Everything was made by us or by our friends. The silk-screening, the sticker on the tape, spraying etc. So far, we’ve had only tons of positive reactions, which is great because it motivates us to do more things in the future. And it’s only ten minutes long so you won’t get bored easily.

Thank you for answering my questions! Tell me anything that you’d want to say here, in the end!

– Thank you very much for this interview. I really appreciate that someone from a country such as Sweden is exploring the music from non-attractive countries such as ours and is still interested. All the best with your website.

You can listen to their release down below. If you’re interested in buying, the cassette is limited to 100 copies, whereas 25 are white-painted (came with pre-ordering), 25 black-painted (the band’s copies) and 50 are transparent. Every tape is handmade, and silk-screened on heavy paper, which means quality. When you’ve made up your mind, you can contact Analog Freaks, to get your tape.