Exclusive Premiere: Os Ovni – No Time Static Hide


The clock is ticking, time is running out. We’re just here to be with you for a while. The duo Os Ovni have been releasing their delightful mixture of synth-pop, minimal synth and dream pop, also channeling other differentiating electronica that can be hard to put together – since 2010. The duo consists of Logan Owlbeemoth and Omebi Velouri, whom have been performing together beneath various experimental electronic aliases in a period of 15 years. By the way, did you know that “Os Ovni” actually means “The UFO” in Portuguese? Now you know. Back in 2010, they released the single “Something In The Sky” on Answering Machine Recordings. A year after that, they followed it up with a split-release with Modern Witch, which got placed on the label Tundra Dubs. After a lot of moving around on different labels, releasing a split with Blue On Blue and then thundering on to participate in yet another split-release with TWINS, they’ve finally settled down and decided to release an album of their own. Together with their soothing love for specific sci-fi, our cosmos and everything in between – Os Ovni have been planning a release which goes by the name of “Lets Leave Reality“. Matt Weiner of Featureless Ghost have been the overseer when it comes to the production of this particular album. Something Cold Records have gotten the honor to release this, and this is probably what further cements their wish to turn away from reality and embrace space. I must say that this record is oozing of minimalism, twirling synthesizers, space-y virtual rooms that places oneself into their cybernetic shoes. Invisible Guy has gotten the honor to premiere a single from their album, and more to come, but first up is “No Time Static Hide” – the fifth song on this eight-tracked album. You can listen and stream the song down below, so you can get more of a taste of what’s coming in November. I also asked Justin Carver of Something Cold (Records) about the release itself and what’s on the menu in the near future.

Last year you released a compilation of tracks, and now you’re going to release an album by Os Ovni. What can you tell us about this?

– I’ve been a fan of Os Ovni since I first heard their split 7″ with Modern Witch. Their music always stood out amongst other minimal electronic bands because of how harmonious their vocals were on top of very fragile synth work. I was able to meet them firsthand when they performed in Detroit for Something Cold in December of 2011. The show took place in a very weird little banquet hall in Mexicantown! Their performance blew me away, they had the most simplistic set up but filled the room with the most psychedelic synth waves. From then on out we stayed in touch and I continued to follow their releases and excellent video work they do (Tachyons+). Their track on the Something Cold compilation was one of the albums most well received tracks, so one day I told Logan when you’re ready, I’d be happy to release your debut LP. Him and Omebi agreed to let us release it for them! They are both incredibly hardworking musicians and I’m proud to be working with them.

What was the original purpose of Something Cold records?

– Simply to release new (and rediscover old) exciting music within the minimal electronic, industrial and wave underground on vinyl. I’ve been running the Something Cold parties in Detroit since 2009, so moving forward and starting a label seemed like the next logical step. My friend Jason Amm (Suction Records/Solvent) has provided an enormous amount of help with the label and helping it come together.

Since your first release has been sold out now for some time, what kind of reactions did it get?

– I was surprised with how fast it sold out and how well received it was. I’ve gotten a few emails from people who picked it up on a whim in record stores and wrote to express their enjoyment and curiosity about the label/party. It’s cool to see tracks from the LP pop up on playlists from radio shows and DJs around the world. Thankfully, while it is sold out, it’s not being price gouged on Discogs or Ebay yet!

Are you going to release anything else in the near future on Something Cold records?

– Absolutely. We’re talking to a few artists at the moment about our next releases. Expect it out around the first of this coming year. We also plan on doing a limited repress of the initial Something Cold compilation LP eventually as well.

Sweating Tapes release-party and more to come!


Since the debut-album of the much renowned dark esoteric electronica meets post-punk was sold out, Sweating Tapes are re-releasing Deathday first album “Deathday“, on a limited edition LP. Those of you who are lucky enough to order the first 50 batches, will also receive a limited edition patch and button. We’ve also written about their split with another LA-based band, by the name of Bestial Mouths. It’s still available and you can fetch both releases from their bandcamp, the first one here and the aforementioned split-release here.


If you’re a resident living in the LA-area, I advise you to come and join the Sweating Tapes Night 001. Which is a party that is to be hosted by Bestial Mouths and Deathday, for their latest split-release titled “A Split Release“. You’ll be able to hear DJ-sets from WMX (Bestial Mouths), Alex Guillén (Deathday) and Remy Marc (Sweating Tapes/VSSL). The party is free and is being put on in Los Angeles, California – in The Lash on 117 Winston st 104, 90013 and it’s 21+. So get in your right gear and head in to California for this night, because it’ll be worth it. But you’d better hurry up, since it’s going to be on the 1st of May – which is today and tonight!

Sweating Tapes are readying up for two more releases, which will be the continuation of the “A Compilation” series. You can listen to Volume 1 and 2 over here, and here. Their current aim for this will be in the bulls-eye of Los Angeles and Texas, as they’re trying to document a section of the North American synth-artists. They will go from city by city, to region by region. So if you’re interested, feel free to hook up with Sweating Tapes by dropping them an e-mail to this address. Also, listen to their currently released volumes down below.

Slowday Showcase [#7.3]: Hungry Soul and Delphine Coma!

224176309-1I remembered, vividly, that I hadn’t included electro yet. I thought it was because of the lack of authentic electro, but I was wrong. First up is the sublime Hungry Soul from Antwerpen, Belgium. His latest endeavor is the release titled “Afterlife Resort“, which gives a rather mushy impression. I’ll explain why. The taciturn yet expressive landscape of both a futuristic time, yet induced and sprinkled with a feeling of nostalgia, has you hooked beneath your kneecaps. Maybe the robots are attacking, but they’re no elites. No, they’re drunken of oil and impaired due to excessive oiling. This could be described further, as they run berserk in your neighboring town, hurting nothing but the infrastructure and themselves.  They do really hate anything even remotely close to them, so they want destruction. It might not be noticeable at first, but the cleanliness and sublime nature of the music arcs into a terribly malevolent situation of electronica and electro joining forces with man instead of machine. Some of it might seem arrhythmic, but it’s really rhythm through and through. That old-school wobble, those analog and those alien. Fearing before caring, locked up in different dimensions, miles apart from each other. Yet something forcefully eradicates your control, which make you a spastic piece of fabric for them to work with. Everything seems remote, but still connected to a centralized authority of electronic(al) magnitude. Actually, the probability of this experimentalism couldn’t be counted on. I was thinking more on the lines of AS1 and instead I got Hungry Soul. But now I know why the soul is hungry, because it wants more of that rhythmic stuff that is delivered through tubes of electro synchronicity. It’s spaced-out, yet confined within its own realms of progression and ambition. Ambiguous at least, ambitious at most – but in between is the only certain thing. Featuring the four tracks “Afterlife Resort“, “Heaven Was High“, “Blunted Beach” and “Jack Lag“. Released on Jack Playmobil Records on the 23rd of February.

1846120871-1Also, it’s been a long time, since I heard anything bombastic within darker genres. Either they limit themselves, pending from bombastic to minimal, or just stay within the confined limits of the minimal genres. Now I’ve found something else, something really special, a duo from Houston, Texas called Delphine Coma. It might not be an actualized release right now, since it was released a month ago, but I had to include it. Their release “Exit Isolation” is anything in between cold wave, minimal synth and darkwave. It’s weird, since it’s only minimalistic in the way the landscape progresses and maybe also the vocals. Everything else about it is monumental and bombastic, utilizing the best of two worlds to withhold the minimalism, but at the same time showcasing both minimalism tendencies with a bombastic core to sit on. The overlaying beauty of the sound-scape is wickedness with melancholic intent, but not to a degree that makes it totally ridiculous. It feels like I’m stuck in a dark vortex, slapping me around and carrying me back each time I take a listen. Everything with it grows on you and the tracks differ in both their attitude towards the listener and the general sense of belonging. They’re inviting you to a world of hurt, but you’re too damn attached to even look away or try to make it out. When you’re sitting on the top of a glacier, looking down on the magical spectacle that is Delphine Coma. It might frighten you at first, but when they’ve got you in their grasp, you’re theirs for the taking. I believe that this is what I think of when recognizing the different genres that influence them. This is exactly how it would turn out, but without me knowing it. There’s a sense of gratitude towards them, at the same time, there’s also an edge to it – which takes you from a non-believers perspective, to a cultist worshiper. Even though some of it could be predicted, their unpredictability and underlying sense of movement makes it such a different experience all-in-all. Transgress and transcend from your own apartment, include yourself or be included. You really have no choice in this matter, because it’s in their hands, which is powerful stuff. Something that isn’t going to be reserved for memory lane, it’s something now a part of you. Featuring the two tracks “Exit Isolation” and “Sothis ▲ Dog Star“, released on the 7th of January, on the label In Aeternum.

Review: Pleasure Curses – Stripes EP

185246137-1A largely consistent blend of shoegaze, synthwave, disco and post-punk features. The first song “Nine Of Knives” really succumbs to the atmosphere of the song itself, making each and every piece of instrumentation to sound ungodly and mystical. A song that could easily place itself on the shelf and be taken off it in times of dire need. At times it feels like I’m being flushed back to the 80’s, just to be witness to The Sound and their fantastic frontman Adrian Borland (R.I.P), being hybridized into something else. Even though these fellows aren’t on that level yet, they seem to grasp some of the concepts of that day and time. There are a lot of things going on at the same time, which means a lot of influences are blending together and creating something you haven’t really heard before besides the influences. Some incredibly smooth disco, post-punk, shoegaze wonder that just seems to escalate in between the different genres all the time. The drum-machine is sounding great too and it brings in a whole other tasteful break from the more organic elements.

When continuing down in the dark alley, it seems like post-punk is the main focus. As heard in the track “Abstract“, the tempo is based around the vague post-punk baseline. A narrow path to take, but also a path that expands the more you listen to the song. There are so many different emotional impulses that go on by when you listen to the different subliminal sounds and the more noticeable (but low-key) vocals. I could imagine myself listening to this while taking a ride on my bike through the city and past the outskirts of it. If traveling made any sense, it would make even more sense with this song. Catching up all the negative emotions and making some of it, even though there’s a depressing touch to it, there seems to be a cleansing effect while listening to it.

All hooked up on this one song, the transgression in between it and the next track “China White” is absolutely wonderful. The suggestive electronic baseline (what a switch!), with lo-fi instrumentation all around it and a vocalist that suggestively whispers in your ear is an epitome of the glory I feel. They seem to have found their niche and they do it right. I have listened to a lot of minimalistic music that doesn’t really take the wonderfully under dimensioned sound into consideration, by adding a slowly progressing but bombastic sound underneath it. I absolutely adore how the different layers intertwine with each other, but stay out of the reach from one another. With that said, the different sounds play a vital part in the creation of this sound-scape and the fascinating experience it delivers. What adds an extra touch is the Chinese-inspired (well, duh) elements of soft synthesizes that rip you through without you even noticing what it was all about, until its too late. Man, I’m completely hooked.

Next track titled “Dwell” really makes up for the loss of post-punk feelings. The first lyrical content in the song really sets the mood of the track as a whole, with the following being uttered: “They come in black and white, they come in black and white“. Just the associations I get with those lines gives me goose-bumps. With the repetitive nature of the lyrical content, it surely brings an unvaried but depressingly tasteful element to the music at hand. As the music progresses, the lyrics stay the same, which I would say is a great strength. I absolutely love the progression it makes, while circulating in between the different synthesized landscapes that it puts its eyes on. This is a song that I would put on after a drunken evening, while walking home all by myself and passing out on a field, as I see all the stars passing by. It feels like its got a little bit of that big city life, which actually takes me into a mood so I can enjoy the song wholly. If I weren’t in this mood, I don’t think I could enjoy it. It’s weird how they can provoke me into entering this mode as long as I listen to the track. This is what I would call a strong but subtle jab on the cheek, if you know what I mean.

Whilst the final track “Vicious” is something entirely different, it fits the premise of the last song. A huge and bombastic track with repetitive notions and emotional swings to the right and the left. This song seems to be a lot about New York, which is the city they’re situated in. If New York was anything like they describe musically and lyrically in this track, I would put myself on a plane ASAP and go there. Unfortunately, I’m out of money to do that, but you get the symbolic nature of my act. The sound-scape is absolutely fantastic, however, the singer could have a little bit more energy and it would absolutely climb into the top as one of the better tracks this year. I think they’ve outdone themselves both musically and lyrically, as they set their foot on my nostalgia nerve. They also took a wild chance by combining some of the weirdest elements and genres together, but I believe that they have succeeded with it. I would say this in the end just so you know where I’m at: “I’m running wild” as a change in lyrics from “We’re running wild“. Because I surely am, so will you be running wild with me? Go over to their bandcamp and buy their EP, NOW!