If you’re in any way familiar with martial industrial and neo-classical music, you’d probably know about “Sang Pour Sang“, the debut-album by the duo Les Jumeaux Discordants. Released on the French label Athanor, whom dedicates itself to releasing occult ritual ambient and industrial music. It was released as a CD, limited to 500 copies, featuring thirteen tracks. Even though we’re lead astray by their venture into modern classical, rather than neo-classical, they’ve got hints of both martial industrial, neo-classical and modern classical. However, their first release wasn’t the one I mentioned either, because in 2007 they released their self-titled “Les Jumeaux Discordants” on Misty Circles. Featuring a more experimental approach then their full album. Roberto Del Vecchio and his partner-in-crime Aimaproject (Luisa Papa) constitute Les Jumeaux Discordants, as a duo. In 2012, both Robert and Luisa contributed to a compilation under the name of “Di Aima II Segno“, together with a whole roster of artists from both Old Europa Café, Steinklang, Hau Ruck! SPQR and other labels. Even though it’s a compilation, it can be said to be an anthology, a kind of tribute to the artists they’ve worked with. The compilation, or rather anthology, was released on the label Show Me Your Wounds Productions.
Together with Invisible Guy in a unique collaboration with Les Jumeaux Discordants, we aim to bring you the track “Horus” from this limited CDr compilation, but also “Stanze” – the martial-industrial counterpart, just to show you the complex nature of their music. It’s a channeling of both the vocal talent of Luisa Papa and the composition skills of Roberto Del Vecchio, as the old Europa awakes again, if only for a moment. The ritualistic nature of the track is both mesmerizing and brings a calmer dimension together with the more alarming and lurking feeling; of urgency. Together with the storm that brews with the simultaneous and rhythmic hits on the drums, as if it was a call to war. Stream this track exclusively down below. You don’t even know what’s begun, since this is the first track to be put up there in a series of four. Bringing you the first two from the same compilation.
Missing out on different great releases seems to be my gig, or at least when I forget that I have actually listened to them. Pure Ground haven’t gone unnoticed by Invisible Guy and have been featured here before. This group’s magnificent blend of minimal synth with industrial is pulled off perfectly. Put in some experimentalism and you’ll have common ground with them. As their latest release “Protection” was put out on the internet on the 10th of November, I would notice the first track immediately. A gloomy and dark assault of minimalism and industrial, portraying the “Atlantic Wall“, which was national-socialist Germany’s coastal fortifications – to fend off the anticipated allied assault, as it was being built between 1942 and 1945, along the western coastline of Europe and Scandinavia. We delve into a world of complete darkness, as the nihilist tendencies are overtly seeping through with harsh vocals. The lyrics are genial, especially when this comes forth: “the difference is between them, fade and evaporate, to never come to consequence – of struggle based on hate*“. It’s a strong track that gets you into the record immediately, with the thoughtful lyrics that are placed perfectly. A synth-stab comes in – to the wobbling and bubbling baseline that covers everything. They manage to make everything out of the harshness that industrial can deliver, with sharp noises – to the darkest degree of minimal synth. Placed so perfectly, so harshly beneath. There’s a certain aspect of their music that keeps getting harder as they go by, but their original signature melodies that can be found throughout, is something they haven’t scaled away. The place went dark and silent, as “Protection” came out. You can listen to the whole release down below and stream it to your will. If you pre-order the record, it won’t be shipped out until the 25th of November. The release is limited to 100 copies on cassette.
* A word or two might’ve been misheard, but that doesn’t make the lyrics loose their inherent meaning.
The people of Női Kabát have released a music-video in collaboration with ASWESAW (whom produced it), which is an experimental documentary project based out of London. It was directed by Boldizsar CR, DOP by Oskar Proctor, edited by Boldizsar CR, and assisted by Rachel Schoenfeldt. The video itself was filmed six months ago and premiered yesterday. Like the unobservant fool that I am, I evidently missed it. Knowing what their song is all about in the first place, the video makes more sense. Here comes an excerpt from the interview I did with Női Kabát, as Dee Rüsche explains what the song itself is about:
“The title comes from the book ‘Make Room! Make Room!’ by Harry Harrison. This was turned into the film Soylent Green. It is generally a story of overpopulation and the decadence in decay that perhaps that would facilitate. I like to think of it as a love song also and a thought that there would still be a way out. These fragile figures ultimately burn in the fire like the human race is heading towards.“
It becomes evident that the video is all about the same thing. I find it to be equally as masterful as the video for “Underpass“, by John Foxx. That particular song was influenced a lot by J.G. Ballard and takes up the topic of total urban decay, along with the sentiment of overpopulation. Detachment from humans as such and humanity as a whole. Whilst this is an interesting comparison, one must not forget some of the joyous elements that Női Kabát carry in their song – which is worlds apart from the indifferent and nostalgic nature of “Underpass“. It’s almost as if there’s something enjoyable in humanity’s own doom. But there’s also the indifference that John Foxx carries within his song. So much of it can be compared, even though they’re forty years apart. Maybe it’s because the same topic is even more relevant now then it was back then. It feels like he was a prophet of some sort. Anyway, enough of this and more of Női Kabát. You can watch their music-video up top and actually order from their new batch of “Make Room! Make Room!” 7¨’s, as [aufnahme+wiedergabe] rolls out a second edition, limited to 200 and in black vinyl. Which are available now, over here.
I just thought I had to push for this compilation, because it’s awesome. A truly great one, which is a tribute to Snowy Red, which was the moniker for Marciel Thiel. One of the more influential artists within the minimal synth genre. This release feature a lot of the up and coming people, mainly from America, whom have contributed a whole lot to their own scene. But there are also a lot of artists from other parts of the world. The following are represented: Bestial Mouths, //TENSE//, Strange Powers, Mushy, Violet Tremors, Mirror Mirror, Meddicine, Nové Můra, Jessy Champagne, Revelator, Freddy Ruppert, Animal Bodies, Newclear Waves, Safyée, Led Er Est, Bright Future, Marburg and Deathday. So, it’s jam-packed with the best of the best, covering songs from albums like “Snowy Red“, “The Right To Die“, “Vision” and “The Beat Is Over“. Meaning; virtually every album he ever released. It’s inspiring to hear such a flawless re-interpretation of those legendary songs. All from different areas of the minimal synth sound. This is surely an investment, as you get a gatefolded double-LP, 180 gram, with hand-numbered packages limited to 500. You’ll can get this for twenty-two euros, and you really should, because it’s a great release. It’s also the first release on Weyrd Son Records (WyS-001), but surely not the last. Artwork was made by Betsy VanLangen.
Invisible Guy have been enlightened by the apparition that is I Had An Accident Records. Which means, that in a sweet collaboration, we’ll be streaming three albums that are all due to be released on the 18th of June. This means that you’ll have a treat on set dates up until that particular date. The clock is ticking, the drums are beating and now you’re up for a sweet treat. Because now it’s the 12th of June, which means that our collaboration with this wonderful label has ended. Don’t fear, there will still be an exclusive stream for you to partake in. Somewhere in a lucid dream, Felix Castenzio is playing his sweet synthesizers, which morph into uncanny and simple melodies that holds the boat afloat. In between experimental electronica and noise, is where he’s at. But its hard to place him in any category, because his music is so orderless. Feel the nostalgic samples throw you into a totally different sphere, as you cling to the sweet sensations and arythmic pace that was created for you. But behold, because P X A is also on this cassette, since it’s a split. Here, we’ll be put into a somber mood, as its meditative tempo and outrageously steep vision of music shrouds your judgement. As it combines the idleness with contextualized rhythms that could put you in a state of trance. Caressing the wonders of a landscape filled to the brink with exciting sounds, noises and temporary timelessness. If you don’t know where to turn, pass on your thoughts for the oracle IHAA to analyze, in written text about this release:
“Phases is one of the most beautiful releases we have had the pleasure to be part of, from the album artwork and cassette to the split sounds of P X A and Felix Castenzio.
We begin with the retro feel of P X A, a project of Astro Nautico’s Paolo Xz. The mixes dance like silk dresses on a spring day, they are so light and rolling, it is an emotional decay, the perfect way to end a hard day and the perfect moments of relaxation. We are fortunate to have this Brooklyn based artist develop such a meditative relaxation piece, like glass gently tapping on ice, or the clink clink of champagne, the moment before sleep overcomes, the drag of the day dissipates like ripples in water.
Felix Castenzio fuses the sounds of the 80’s and 90’s into a formidable cool respite from the summer’s heat. The feeling of the air conditioner on a hot body after returning from long-boarding or a quick game of tennis with your girlfriend and her white short shorts, this just feels right. It is all timed out like a distant buzz of a lawnmower or the lucid dreams from a nap in the hot sun. It’s the moments of bubbling bliss that makes this lo-fi soundscape sensational. Limited to 60 c40 pink tint cassettes.“
P X A Side
7. Animaux (w. Annik)
Felix Castenzio Side
1. Suburban Girl
2. Abstract Garden
3. Cooper’s Theme
6. Night Drive
7. Kids World
Things are happening in North America. Namely in Los Angeles, where the sweet label Sweating Tapes is situated. Currently on the way of releasing a limited edition 12¨ split-vinyl with the Los Angeles bands Bestial Mouths and Deathday, together with the European label desire. It’s the first release from them since October, when they released their second compilation “A Compilation Volume 2: The Bay Area“. Since then, there haven’t been as much action on at least the release-front, so the machinery seems to be up at full speed once again. Their split-release feature four tracks, two of each band, and is limited to 500 copies with a two-colored insert, also including download when bought. It costs 13 USD and ships on around the 2nd of April, the digital release for it is on the 26th of March. You can read a summary of the both bands by Jerome from desire below. The tracks featured on the release can also be listened to via streaming. Pre-order this release via the Sweating Tapes bandcamp.
Sweating Tapes & desire are proud to present an unique record: a limited 12″ split between two of the hottest bands in LA, Bestial Mouths and Deathday.
Pooling together a group of influences as diverse as its members, BESTIAL MOUTHS present a raw, synth-driven energy propelled by singer Lynette Cerezo’s powerful vocals. Often likened to Diamanda Galas, Siouxsie Sioux or Lydia Lunch, Cerezo delivers each note with fury and abandon. Synthesists/keyboardists Christopher Myrick and Gustavo Aldana channel early industrial, EBM, goth and minimal synth pop in turns, blending harsh electronics and lush melodies. When fused to Aldana’s splintered programmed beats and the tribal rhythms and samples of drummer Jessica Reuter, the harmonics combine to breathe new life into post punk, weaving their own distinct creation in the process. Bestial Mouths has released an album on Dais Records.
Constructed from the aggressive textures of early industrial music, the ambience of coldwave, & the carnal energy of post-punk, DEATHDAY blends dark and often esoteric images with sparse, primal analog sounds. The quartet has recently contributed tracks to Downwards’ So Click Heels, Mannequin’s The End Of Civilization compilations.
Deathday’s self-titled debut will be reissued on limited white vinyl later this year via Sweating Tapes & desire.
I stumbled upon this majestic piece of work, released by the label Function Operate. It’s a collectivized form of enjoyment, gathering the bright minds, sorting under different aliases. This ten-track long compilation of different enjoyable genres will take you for a ride through atmospheric cold wave, sincere shoegaze, dark and dampened minimal synth, tar-coated post-punk, or even to the width of magnificent synth-pop. Artists and bands that are featured on it are the following: Koban, Some Ember, Victoriana, The Harrow, Warmline, Claps, Tiers, Pretty Bleak, Ortrotasce and Redredred. It was mastered by Jimmy Derr and the wonderfully minimalistic cover was made by Jude Pierre. For the mere sake of purchasing it, you’ll only have to give 6 dollars for this great compilation. It is limited to 200 C60 cassettes, so you should get yours. Make up your own mind by listening through it down below.