Michael Idehall is truly a master of the dark arts. With his first mixtape ever for Repartiseraren, he goes into shadowy territory. This mixtape is an introductory to his teachings which he meddles to the listener through an innovative landscape that quickly shifts from a baseless dark ambient, to a sudden flash of industrial – bordering to death-industrial – but not purely associated with one genre. His own visions are deeply ingrained in this mixtape and it will make us mortals tremble. Everyone will have their own opinion, but we’re speaking in tongues as we’re caught in the middle of greatness. Now nobody really knows where they stand and everything will change in the nearest future. You don’t know if it’s a crack in the wall or if the world is being torn apart.
With “Svartkonster” the metaphysics of his music is represented as a theme. Depending on who you ask, the theme varies, but it begins with a false sense of security as the wave of darkness begins to catch up with you and quickly rumble into a complete storm. Your senses are clouded as his magical and hypnotizing sounds do their best to seduce you into compliance. I’m proud to be hosting this mixtape and to be working with Michael Idehall on a co-operative level. Even though he is the conjurer, I am the overseer that sees to everything being where it should be. Enter a blackened world that makes the post-apocalypse seem like a fairytale.
A lot of words can be used to describe it, but it is best to just listen to it and make up your own mind – if you’re still in charge afterwards. Illusory, steady as steel and inconstant are words that might not be apt to describe it wholeheartedly, but I feel so empty after I’ve been struck with the perfection that emanates through layers and layers of sonically charged superstition. You can trust me on the fact that it will at least not leave you indifferent, I believe it will leave you with a magnitude of different emotions – each to his own. Listen to it down below.
Well, we hadn’t heard from novva falla in a while, but he’s already out there with his release “Before the Journey to Eben-Ezer“. This is an homage to Austin Osman Spare, an occultist an painter from the 20th century Britain that we no longer know. He’s probably most known for his contribution to the esoteric legacy in Britain at that time, and his occult grimoires titled “Earth Inferno” (1905), “The Book of Pleasure” (1913) and “The Focus Of Life” (1921). One thing that sets novva falla apart is his dedication to personalities that no-one else would even think of. Also, the fact that they’re knitted into the history of that particular country in one way or another, which in itself is fascinating, as you learn more about it. His analog minimal synth mayhem is everything from droned out landscapes, to intimate rhythms, to self-explanatory melodies. That, accompanied by haunting vocals. You’ll get eighteen tracks that you can listen to as you delve into the history and background of this release. It was released in August on his own tape-label called “Tesua“. If you buy the tape itself, you’ll get a download code with it. Support his work if you like what you are hearing.
It wasn’t a long time ago since I heard about these fellows from Texas. Even though I’ve rarely encountered their music anywhere, their artwork and name have been etched into my brain. What I do know now, however, is that this release is their latest album-release since “Atrocitizer” was released, in 2008. John Stillings and Larry Kerr are their names, and I find myself repeating those names in my head, in an almost perfect symbiosis with the scene from Fight Club where they start chanting:”His name is Robert Paulson“. Just replace that name with their name, and you have a totally bizarre coincidence, but a strong incitement to actually start reviewing this monstrous release. Before I go on and do that, I must say that this is another release from the magnificent Malignant Records, from the US of A, which hasn’t let me down so far. So we’ll see how this one goes. Another thing that has to be mentioned, is the fact that this was released on the 29th of March, which is a while ago. It contains material recorded between 2008 and 2012. Hopefully, my earlier lack of inspiration, wordlessness and total apathy – will make this review a much more detailed endeavor.
Putrid filth spewed directly from the gaping mouth of the abysmal death-industrial/dark ambient duo called Deathstench, based around Darea Plantin and John–Paul Whetzel, whom also worked within the band Welter in thy Blood. As the black oil puts on a layer of disguise, they rapidly move into the first song on the album titled “Extractum Ex Infernis“. The whole picturesque scene that upholds itself, suggests that an almost ritualistic wall of death-industrial paves the way for the lesser elements of this song. Going ahead in a manner of strength, stinking up the whole place with the vocalists utterly distorted wave of noise. The whole continuum of the sound-scape brazenly lighten up the darkest emotions from within, conjuring horrific pictures inside an ever numbed down skull. An almost propagandist feature is the repeated words heard in the background, almost as an instructional guidance for this visually gruesome landscape of gigantic splendor, in the way of the smutty putrefaction. The repetitive notion of the sound-scape waltzes on in its own particular manner, as it autonomously pulsates on with sheer destruction in mind. As a novice within the genres, you’d expect it to be fascinatingly obvious to pinpoint the exact partition divided between the genres. But from what you hear, the overt dark ambient is forcefully managed to step on and include the darker elements of the genres, as the death-industrialist expose can work within, undisturbed. Emotionally, this is a masterpiece, as it steps on your toes with no forgiveness and continues on like the amoeba it is. Gathering different intelligentsia from other corners of the vitally important genre-sphere, as it delves deeper into your mind, haunting your mind with the most susceptible mixture of ignominy. You simply can’t ignore the vastness and cunning of the machinated abyssal void that is coming right at you.
Solicited cold wave with ethereal components. A heart and bridge in between the ethereal sphere of alternative music and a homage to the new school cold wave complex. Fierce components rage in between the cowbell and baselines in a surging lo-fi sound-scape that shape the whole progression. It feels like there’s energy to light up the more subliminal features in the song “Futureblack“, which relies on the beat to continually pulsate through a wall of spears before wrecking itself in a minimalistic fashion. Oddly enough, the cowbell(?) is what marks the change and stands out from everything else. Since the all-round sound feels like a perfect release from this ambitious (and ambiguous) cold wave act.
Like a perfect combination of weird but apt and soaring cold-wave futurism, the ethereal dimension picks off the slack. As they mention themselves, the label “occult” can be translated into the aforementioned. By closely monitoring their releases, one can say that this is a perfect transgression from the darker power electronics, into a more laid back version of the act itself. If they hadn’t already come up with a label for this themselves, someone else would’ve, but they match the description of “ghost-wave” as their ghastly sound-scape leaves you wanting to delve deeper below the line that is drawn in the sand. Even though it sometimes can get a little bit shallow, they always back it up with a barebacked structure that lays itself out upon you.
As the other wonderful track comes into play, the title “The Banishing“, feels even more relevant. Here they bring out their post-punk influence, which can largely be heard from the lingering baseline and darker edge. Even the name of the track is describing it well enough, as it plays a big part in the placement of the song itself. It is also one of the more intriguing but repetitive songs I’ve heard this year, it seems to invite you into their world but only as an observer. As it continually develop and transgress beyond the boundaries of petty labels, they cannot be ignored.
This is a slap in the face to people who’ve ever wondered if they’re something you can count on, which you evidently can, as this up-tempo and post-punk flavored piece of magic, take its hands on the wand and enthrall you. Forget everything about time that have passed, look straight into the belly of the beast and find yourself at home. As the edge slice deeper into flesh, the catchy overtones are slowly dragging you over the line and making you commit to In Death It Ends. Which is a commitment you’re not going to regret, even though it’s only two tracks, you’ll soon have it all. Their job here is done and the rest is up to you, as this wonderful two-track release makes it onto your cassette-player.