Exclusive Premiere: Bakunin Commando – Void Desire

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Post-electronic body music that has morphed into a monstrous repetitive being, a permanent assault on your eardrums that is as uncompromising as the outlay in Bakunin Commando, Signore Baudazzi’s brainchild takes as much as it gives the listener in return – an anarchic point of view transmitted directly and forcefully into your mind.

The split-release is coupled with more industrial hemorrhage, as Veleno Viola takes the lead roll, the main alter-ego of this man’s twisted world. No matter what you think about the music itself, the release is aesthetically pleasing in different ways, even though much of it could be enhanced – the small tidbits that you get to enjoy are enough.

In collaboration with Kess Kill we exclusively premiere this track, as this is written it may already have been released, the eight release in Kess Kill’s discography (KESS08), paving the way for even more ambitious music in the future. You can get the vinyl here, listen to the track exclusively down below.

Listen: Grand Mal x – Darkness

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Harrowing, eclectic dance music for those who appreciate the esoteric. Grand Mal x surprise us with another release, in companionship with Michael Idehall whose music can be related in one way or another to this project musically, but they deal with the concepts differently. What is most enjoyable when listening to “Darkness” is the complex synthesizers that pin angelic towards demonic – sin against the good – a constant battle between what is right and what is wrong.

Stjärndamm” is our favorite song on this release, with a purposeful barrage of basedrums that hammer into your consciousness, the dreariness of the atmosphere consumes you as it progresses – or regresses. There are some beautiful chords laden from the synthesizer as well, together with second long samplings that pierce through the malevolence of it all – though the concept of it seems beautiful when you utter the title, but the music itself suggests something different.

A thoroughly complacent album, a deep insight to everything that shaped and formed Grand Mal x from before – concentrated into a roller-coaster of emotions, messages and sublimity. There are facets you don’t recognize once you hear it the first time, as in “Black Book” which was co-written with Mattias Ivarsson, a very different song that detaches from the release as a whole, but knits it finely together with “A Star For Everyone” – a song also featured on our own compilation “Volume 2 – It Will Never Be The Same“.

Buy the CD from the Ant-Zen mailorder, or purchase the digital release below while you’re streaming the release anyway.

Listen: mar, Hanetration, TRBL

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Nice, unpretentious and skewed electronic music from Marta aka mar, in the shape and form of a distant feeling of being disconnected but at the same time warmth and comfort, with “who?” she conveys a sense of aesthetically fulfilled beauty in terms of music – and an uneasiness that lingers throughout – you’re always unsure and on the edge, as you’re caressed by whoever you think about right now.

Somewhat nostalgic, a big chunk of unorthodox but well-produced electronica aligned with stiff beats – and a sweet compromise together with non-electronic music. There’s sincerity to the music and not the usual poseur trapped within their confinements of wanting to be “outside the box”, and this is what separates mar from other projects that might sound like this, though being as young as she is – only 23 – makes it more impressive and you should take time out of your day, evening or night to listen to this.

You can stream her song “who?” down below, via Soundcloud. Hopefully we’ll hear more from her in the future, it would be intriguing if she accentuated her own vocals and made that a prime focus, it would enhance the overall sound and definitely pit her against the more well-versed people within experimental electronica, as she’s talented.

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The one-man show I truly admire is Hanetration, his work ethic when it comes to music surpasses many musicians, and he carefully hones his craft to get better and better at it – so with “Ancients EP” – he delves deeper into the different elements: Water, Fire, Air, Earth and Aether. It encompasses each element beautifully and it sounds just like what you would expect from the name, an atmosphere which keeps you in and gets you out of your mind as quickly as possible.

There is something otherworldly to his music, which is obvious for anyone who’s listened to this first releases. What we’re looking for in this is something that keeps it all together, and in that he’s succeeded – as his earlier releases tended to be inspired by all and nothing at the same time – a whirlwind of creative outputs, now distilled into a more headstrong, ambitious image of himself and his music.

It is not something one would listen to regularly, but it is soothing in a way and calms your nerves. We’re blessed to have such a wide array of different influences peeking through, making themselves noticed through small cracks in the layers of each of the songs, our favorite being the constantly pulsating song “Air“. You can listen to his latest EP down below.

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Now time for some intensity, with TRBL and the release “Sleep Inducer“, you get pumping techno, industrial and seriously nostalgic rave sounds all in one. Even though it is close to being a gimmick, there’s a certain vibe to it that separates it from being a full-frontal assault and a clone, which can be hinted in the carefully placed synthesizer stabs here and there, and the breakdowns which slowly turns things on their head.

Perplexed” is one of our favorite songs, a fast-paced beast of a song that is so acidic you’d have to turn up in a Hazmat suit even to be able to dance to this – bordering happy hardcore territory – yet keeping the trance and rave atmosphere intact, without going overboard with the influences. What’s great about the first track, the title track “Sleep Inducer“, is that it reflects a lot on the more sinister themes that can be put into techno, there’s a darker vibe to it, maybe not as hardcore as the other tracks – but something is lurking down below.

Simply put – this is something you should get your hands on, despite only being in a digital format. It is well-produced and carries everything on its own, despite being only three tracks – though all are different variations of the same theme, derived from different times and compiled into three sections – techno with industrial overtones, techno/trance with rave overtones – and a more psychedelic acid techno experience. Listen to it in full down below.

 

[2nd] December: TSTI – This Way (Inst. Version)

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To be honest I haven’t been monitoring the rapid success of TSTI for a while. I remember when he was in the process of releasing his debut-album, but after that he’s also released a follow-up and there’s more yet to come. Sometimes you just loose track of everything when you’re knee-deep into everything. There’s so much to keep your own eyes and ears open to and there’s so much really untalented junk which floats around on the internet—some of it which is received through e-mail that you don’t even open and send to the trash-bin right away—that you get lost, for real. Even though I know that many things are left unexplored, it’s hard to keep it close and actually have the time to listen through it. I’m hoping that my article will do justice to what I’m going to present to you in the end of it. Before that I need to go through what is unique with TSTI and why he’s featured in Ljudkalendern — the unnamed project which got a name, when the final artwork had been received. It’s really simple and is kind of catchy in Swedish but not in English, as it translates to: “Sound-calendar“. Therefore I’ve decided to keep the Swedish name.

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We’re already in December and time flies by like it didn’t even care for us puny humans. Not that it ever does, because it’s not reversible, but sometimes you wish time would have mercy and be slow for once—not only when you’re doing something really dull. It has more to do with our perception than it has to do with time itself, I can understand and cope with that, but I wish I could just stop and reflect for a moment—which rarely, if ever, happens. TSTI have been releasing so many great tracks since the first release for this solo-project of his, originally intended to be a bedroom synthpop project, turned into a minor mammoth that just seems to go on and on… and on. I don’t really know if he stays true to what he once wanted for it, but that doesn’t make a difference for me anyway, the only difference that have been made is that he’s evolved really much. From a rather neatly placed synth-pop package with huge ambitions—turned upside down, making it an ambitious project extremely nicely packaged both in sound and aesthetics. His artwork follows a linear curve and the only thing different is the main focus point, which feature an industrial compound (Evaluated), as opposed to the Victorian setting on his debut-album (Evaluations). It will be exciting to see what’s going to happen in 2015 and if the aesthetics will follow the red line, or go past, above, away or beyond it. Because he’s releasing something new in the beginning of next year on Desire — and I’m thrilled about it.

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So when I asked him if he would be interested in participating in a non-commercial collection that I was making, he surely was and gave away an instrumental version of a track featured on his forthcoming release. It never got onto the official release itself, so I thought—why not place it on Ljudkalendern? Said and done — now we had an agreement. It is my pleasure to introduce to you an instrumental version of the track “This Way“, taken from his coming album that will be out next year—2015. It’s a step away from what I was used to hearing on his debut-album, definitely with obvious leanings to electronic body music and industrial music, but also with contrasts like including a panpipe in an industrialized setting. Harsh beats, complex rhythms and a nicely woven melody which is supported by this bizarre instrument. A thoughtful song which doesn’t become less interesting than the fully vocalized original track. Before you go and listen to it, read my poem about it. Otherwise, if you’re not into poetry — here’s for December the 2nd and a brand new premiere on Ljudkalendern!

Metal pipes and ringing sounds,
working hard in our compounds
Hammer to metal, machines for humans,
benefited for all means

This is 2nd of December and for now the story is moving straight ahead, but we’re long from close to our final destination. Tomorrow a new song will be released and the story is to be built upon and continued. Until then, enjoy another exclusive song; “This Way” (Inst. Version), on Repartiseraren.

Spotlight: Celldöd

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Om du någonsin hört talas om pulsdisco, så har du förmodligen kommit rätt. Namnet klingar nog bekant för den som på något sätt intresserat sig av Celldöd. Anders Karlsson som annars fördriver sin tid med projektet Vargdöd, eller som en del av skivbolaget Complete Control Productions, är den som står bakom namnet Celldöd. Ett solo-projekt han driver, som sedan en tid tillbaka fått honom att i början av året släppa “Pulsdisco#1” – som är det första officiella släppet av låtar, på kassett – signerat hans alter-ego. På exakt samma datum, nämligen den 31:a January så kom det även ett nytt album med Severe Illusion – ett projekt som Anders Karlsson också är insyltad i. Så förutom de olika grupper han är med i annars så levererar hans soloprojekt guldklimpar ur den musikgruva som han utvinner mineraler från. Det är något med detta soloprojekt som får en att inse hur bra det är i jämförelse med allt annat som bara försvinner in i periferin. Allt från den acid-sturskna låten “Betong” – som verkligen gör skäl för sitt namn – till det råa musikartilleriet “Ingen Går Säker (Rå-Mix)“, så förstår man att det här projektet gömmer många överraskningar. Även om låtarna har mycket gemensamt så är det en hel del som skiljer dem åt, allt från hårdheten i de bultande trummorna, till den karga atmosfär som går från att vara en oljudsvägg till att bli ett mörklagt inferno.

När man talar om det gemensamma så är det förtjusningen inför en slags gammeldags acid-techno-influens som sliter hål i väggarna, men också den stadiga rytmen som bara har ett mål och det är att gå i takt. Det finns inget utrymme för avvikelser när det kommer till rytmen, men det går utmärkt att svänga med syra-melodierna och låtarnas atmosfär. Fast även om det finns restriktioner så kommer det låtar där allting ballar ut och den nya låten, förutom “Ingen Går Säker (Rå-Mix)“, är ett bra exempel på det. Den heter “Terrorbalans” och är tagen från ett kommande split-släpp med Vargs alter-ego Black Leather Harness vid namn “Krig“, som släpps på skivbolaget Brutal Disciplin inom en snar framtid. För den som vill bekanta sig med pulsdisco är det förmodligen ett släpp man bör hålla utkik på. För den som vill bekanta sig med Celldöd så duger det första släppet gott och väl tillsvidare, men det kommer att vara spännande att se vad som kommer ut ur denna allmänna hopplöshet. Man får väl hoppas på att det inte tar allt för lång tid innan man blir invaderad. Ni kan lyssna till låtarna “Betong“, “Pulsdisco 1.2 (Dirty House Mix)“, “Ingen Går Säker (Rå-Mix)” och “Vi Andas Syra” här nedanför. Musik-videon till “Terrorbalans” kan ni hitta ovanför. För den som är intresserad av att se och lyssna till Celldöd live så går Kalabalik på Tyrolen av stapeln den 22:a Augusti.

Det går nu även att förlyssna på utdrag från Celldöd-sidan av “Krig“-släppet. Gör det här nedanför.

Exclusive Premiere: Weeping Rat – Eulogy

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These Australians have a weird habit of returning to my blog-zine. Weeping Rat is a mini-ensemble of Australian people whom I’ve written about before. Essentially, they’re a perfect example of what a band actually can do and how not to be a bland mess of influences. Changing themselves over time from a death-rock outfit to a more experimental industrial one. Having released stuff as far back as 2012, now beginning to shape their latest release “Eulogy“. Making a weird kind of transition when they released their two EPs “Forced Vision” and “Fractured Zones“, showcasing two different sides of what was to become a future release. Now they’re limiting themselves to a weird kind of mixture between industrial, cold wave and post-punk – experimenting between the three. Capturing a certain kind of melancholic vibe together with their unusual sounds, a clingy theme of an abrasive singer, with the inspiring percussion.

I got to put up the first single taken from this future release. This particular song is really what defines their new selves. Featuring a meditative rhythm, hiding away a cluster of percussion in what could be referenced as a rain-forest of instruments. At the same time there is a lot of things going on, but it doesn’t really hinder the atmosphere or make it clutter. Well, I put up the song a while ago and I hadn’t written about it until now. So here you are being given the first single from their forthcoming release. The song is called “Eulogy” as you might’ve already found out about. Let’s hope that you listeners enjoy it as well as much as I do.

 

Exclusive Premiere: Identity Theft – Targeted Individuals

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In some genres there is a certain kind of experimentation allowed. When it comes to minimal synth, there seems to be an invisible box in which people that make this kind of music seldom go outside. Michael Buchanan of Seacrypt have a long-going project which goes by the name of Identity Theft. It’s a solo-project experimenting with minimal synth and synth-pop. He’s been making his music under this moniker since the first release “Night Workers” back in 2011. Then he was known as Djynnx Ogo and the aforementioned release is a testament to this, featuring material from 2008-2011 packed into a compilation. With little help of Duncan Gerow, Paul Sutfin and Chelsea Crypt, for both synthesizer work and vocals, on tracks like “Cryptoterrestrials“, “Small Knife” and “Our Game“. It took him one year to release his first proper album, titled “Security Theatre” – featuring material recorded in between 2011 and 2012. This was his first release since his new nickname had been formed. Entering a world of surveillance, loss of privacy and other current important issues related to this. Some months later his first mini-album emerged, titled “Black Opsis“. Originating from a label called Cognito Percepti. The difference with this mini-album was the original intention of making it a live-session, composed in 2011, whose tracks later became the album “Security Theatre“. Next, a true live-album came to be through the Record Label Records event “Memoirs of an Invisible Woman” recorded live in 2013.

Recently, the second proper album was released. It was titled “The Future Hates The Past” – featuring material recorded between 2013 and 2014. Repartiseraren was lucky to catch an exclusive premiere of the track “Targeted Individuals“, before the album itself was properly released digitally. Every release that I’ve counted here have been released on Michael Buchanan’s own label Katabatik. I believe that this song especially, show the experimental nature of what he’s trying to confront with this album. It’s probably the most experimental of the albums he’s released, which is perfectly noticeable with this track. A blend of paranoid minimal synth with original analog synth-pop makes the most skeptic electronica-lover a convinced believer. You can exclusively stream the track “Targeted Individuals” down below, alongside the full album that was released by him recently.

Interview with Schwefelgelb!

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When scouring the web for something interesting and new, you rarely find what you’re seeking – if you’re even seeking anything out, at all. Sometimes, you stumble upon something that is greater than the genres that can be attributed to the music at hand. Schwefelgelb is one of those exceptions. I happened to find them in connection with an earlier Gooiland Elektro release, titled “Dunkel Vor Den Augen Uns“, which contained a lot of great songs despite being a four-tracked EP. Which in turn made me interested in finding out more about them, as I had read a couple of lines in different interview with them. One of the most interesting thing is that they have a conceptual approach, which in turn make their presence even more noticeable. Even though my thoughts might be a wee bit disorganized, I decided to ask a few questions to Sid and Eddy – the core of Schwefelgelb itself. Hope you enjoy it, and have a Merry Christmas!

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Spotlight: German Army – Last Language

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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.