Listen: Walk Onto Sun – Grow Static

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Walk Onto Sun released his second release, and second EP “Grow Static” in October of 2017, it’s been a long time since I was introduced to it by the musician himself – but now is the time to delve into the music – and see if it holds up as well as his first debut-EP “In the Inside“.

First trackIsn’t Real” is a stunning piece that grows on you after the first erratic steps the beats take in different directions, stuttering beats that flow upon an atmosphere of otherworldliness and paranoia – slowly taking the form of a regular four-oh-four beat, but taking bits and pieces out of the sound-scape the further in you get, making it as weird as it was starting out, as you get to the end.

It’s like a bad dream that you can’t awake from. Some of the vocals make you wonder when it will turn into a proper martial industrial piece, but it holds its guard up against such a transgression. Even though some if it might seem out of rhythm, the blending of arrhythmic noises and confusing electronic synthesizers together – makes you realize what time went into making this song.

Hollowed Out” is more sinister, it follows less of an experimental route, and includes the deep baselines you’d want to hear in his music – a more ritualistic approach in combination with industrial music, in the setting of a post-industrial séance. Even though it is more primitive in relation to the first song, the vocals make it a monotonous piece of music as it drives you into a feverish state of mind.

Though some of the vocals might turn you off from the track, you take time to appreciate the wondrously created atmosphere – as it seems to turn for a more wicked approach each time a new sound is added in, but never lets you down when it come to being consistent without making it too predictable.

InFeral Plains“, Ben Engebretson (Walk Onto Sun) is assisted by Steve Holms in the form of metal percussions – this is really what keeps the song on track and adds a focused vibe to an otherwise outdrawn, hazy kind of downtempo ambient industrial music. We’re not sure if the vocals are meant to be so monotonous, but it both adds and takes away from the general feel of the song.

Ironically enough, the title-track “Grow Static” and the last song of the release, is actually the best one in our opinion. It summarizes what Walk Onto Sun is capable of when he channels the right percussion at the right time, the right rhythm at the right time – and the right atmosphere at the right time. Everything in this song seems way more planned then in the other ones, so hopefully this can make a full-length album a reality in this year before it ends.

All-in-all it is an interesting album, he strays away from the first EP a lot, but much of it is more of the same. It doesn’t matter if it stays this way or if it develops, but some of the more experimental elements in his music is not that alluding – but the vocals on the last song is more impressive then those on the rest of the EP.

Make up your mind on your own and listen to it in full down below.

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.

 

Review: STEREO NO AWARE – the sound of STEREO NO AWARE (LP)

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STEREO NO AWARE is completely new to us. Their sound is experimental rock’n’roll with psychedelic influences. We had the opportunity to receive the limited edition color version of the vinyl-release, which is beautiful in all its aesthetic glory. When it comes to the general aesthetics of the release there are too much colors for us and a coherent theme cannot be found – but that does not discourage listening. Each to his own. The aesthetics are on point when it comes to knowing from the first glance, what kind of genre and record this is going to be. The covers are very pattern-based when it comes to the outer layer of it, and more basic and down to earth when it comes to the inside of it.

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Lyrics for each song have been printed on the insert and is sharing the space with artistic doodles of different creatures, a computer with tentacles and something which looks like a freely interpreted version of Edward Munch’s painting “The Scream“. There have been many people involved in the making of the artwork itself (both sleeve and front cover), such as Jonathan Ash, Jane Nicola Rossi and Isaac Ashlind.

Now on to the music. The first song “Passing For A Ghost” is obnoxious in all its experimentalism at first, with the different voices and basic rhythmic beat, but it is swiftly sidelined into a more oriental vibe together with the ethereal mind of someone else. It is like there are different personalities on display within the song itself, like a madman talking to himself or an organic trip between a younger and older self. What is exciting about this form of rock’n’roll is that there are so many instruments that aren’t used normally.

From different flutes to what almost sounds like mandolins, but probably isn’t. They themselves call their music “experi-mental pop”, which might be an apt title to put on yourself, but I believe it is more then just that. Popular music has no bearing in their music, especially not in this first song. It is too “out there” to ever be popular in anyone’s mind. Probably why they used that play of words with “experi-mental” pop.

Tristram The Manipulator“, the second track is more coherent in the general sound and is a part of a huge soundscape which one could get lost in immediately. Though we’re not a fan of the almost rapped lyricism a bit into the song itself, the reverberating noise that the rhythm and baseline together with the drums produce – is astonishing in and of itself to make up for that lack of musical prowess. The vibe is switched from emotional and right up the funkier alley – right into 8-bit crunched up and claustrophobic beats. There is a lot of attention to detail in this song in general, where every shade of instruments gets a play in between the main rhythm (if there was one) and the rest of the song.

Yareta Yorona” is even more emotionally invested then the other songs so far. We’re not fans of the poetic side of the talked lyrics, though more of a fan of the stoner/psychedelic influenced vocals that appear further in. Attentively changing from a darker, more distorted voice to a louder and pitched one. Two different worlds that collide perfectly and make for nice moments. Everything flows so great together except the aforementioned babbled (though audible) lyrics. The singing parts are much better. Too bad that some of the outro goes into an obnoxious playful fogged up state, but it is saved by the more acoustic and sincere proper ending.

Cattle Calling” is messed up in a lazy way. It feels like they just let everything go, but at the same time the melodies in the song are on point. There’s too much experimental hitting on the drums, slapping on the baseline and churning on the guitar going on, until a desperate vocalist manages to save the good melodies with his voice – as it goes totally spaced out. An otherworldly sound complete with the influence of a saxophone – haven’t heard that instrument until now – but it gives off a jazzy and entwined feeling together with everything else. “Pagan Feelings” is like a continuation of “Cattle Calling”, it could almost be the same song, outro-wise at least.

The big difference between these two is that it continues down the same trodden path in which STEREO NO AWARE have made us aware of their talent. An experimental needle in the right position, delivering everything they can in terms of musicality to make up for their past mistakes. The common theme is the spaced out and less filled up, erratic soundscape. They leave silence to play a bigger part in the sound then they have before in the other tracks. Everything from the beginning of the song up until the end goes more acoustic, as it has been with the latest tracks we’ve listened to on this album so far.

Normal One” is the highpoint. They’ve managed too well to combine the organ with the drums and the vocalists ‘normal’ state. Had they not screwed up some of the rhythm by filling out the space left by the organ as it slowly disappeared, it would’ve been the best song so far. Though having said all of that, we believe it combines the best elements of their music and turn it up a notch – to make it believable.

Oaks Park” is perfect when it comes to the drums. Everything else is just a companion on this flipped out journey. They touch a deeper nerve with it and hold themselves together instrumentally. From the guitar-licks to the sharpened edges of the fast-paced strumming of guitars at some points, is replaced later on with an outdrawn saxophone that slows down the tempo a notch and bring a cloudy comfortable feeling of well-being into the mix.

As the songs grow longer, “The Great Dialator” adds a minute or more to the song in comparison with the others. Accompanied with a robotic voice, maybe this is the epitome of human and AI interaction – they can never convey that feeling which is human – they will never encompass all those facets of humanity. No matter how much Bladerunner 2049 will try and convince you otherwise. No matter how the futuristic automation will keep us from doing what we loathe. There is something humble about this song and it convey their more primal outlet.

Had they simply removed “Tongue Clouded“, the album would’ve been better off. It is a decent song, but it is so far removed from the feelings that have been given by them musically so far. Though one favorite part is the stern baselines that comes into the song, but one-two seconds later it is far gone. Just to arrive again. They could’ve built on that emotion further – it had a rejective theme to it and a more dark, sinister outlook on things then what have been made clear so far.

Conversely (Exit Tango)” is a mish-mash of everything you’ve heard so far. To get a grip on STEREO NO AWARE – you must listen to it. It gives you a grasp on what this album might be all about, musically. A very ambitious track and the longest one on the record so far, with old-school piano-playing and in more of a drunken haze then before. Imagine film noir gone completely decadent cabaret. Together with “Credits“, both are your typical outros but the first one was made into a track instead that clings to what have already passed (the other songs).

After having heard this it sounds like so much different music one have already heard, but they have something distinctly theirs. It would be interesting if they could develop it further, though they’ve already done it to good length already. Maybe this is the final product. A good album if you’re into experimental music – if you’re not, then this might not be for you. Listen to it in full down below (digitally) and do yourself a favor – order the limited edition vinyl – the colored one(s).

Exclusive Premiere: Megabreth – In The Mouth Of The Realm

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Stoner-infused and whirly psychedelic rock music is what Megabreth brings us, in this cassette store day release on the label Field Hymns. Their album “Ultra High Noise” is what happens when you experiment in the laboratory of sound, whizzing and spaced out vibes that don’t require you to indulge in a drug-induced epiphany to appreciate. They have a dense ambiguous sound and are not too far flung into the otherworldly.

For cassette-store day this chrome tape, with a 4-panel insert will get you rocking for that utter nonsensical occasion. If there is one day you should be capitalizing on Field Hymns releases, it’s this day. You can ignore the other far-fetched releases that make up this cheap imitation of record store day. Not that anything done for capitalizing on music is necessarily something bad, fortunately for you they managed to get a cassette out.

You get the pleasure to listen to “In The Mouth Of The Realm“, exclusively via Repartiseraren before release on bandcamp. Make sure to support the label by purchasing one of their cassettes; edition of 80. Listen down below. It will be released in full on the 14th of October.

 

 

Exclusive Premiere: DYN & Bleib Modern – Live Split EP (A-Side – DYN)

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Black Verb Records is a new collaborator and have granted us access to their latest release, namely “Live Split EP” – an EP recorded live at Badehaus in Berlin on the 14th of May – split between DYN and Bleib Modern. We’ve been allowed to showcase the a-side of this release, which features the music of DYN, a psychedelic and shoegazy adventure between insanity and sanity. Opposites attract, they say.

You can listen to it here exclusively on Repartiseraren before release. This split will be released on the 22nd of June and you can pre-order it over at Black Verb Records. You’re in for some really psychedelic tunes, in an alternative way. Stream it in whole down below and find the tracklist as well.

Tracklist:

1. Two Times
2. Day In Life
3. Just A Little Bit
4. I Can Handle This
5. Love Of Mine

 

Skördetid [Del 2]: Vågen är slutet – Ingen Våg är bara början!

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Tidigare har vi haft med Ingen Våg Kassetter, som även kommer med denna gång. Det handlar om Skördetid, och allt ni behöver veta om deras kassetter kan läsas i första delen av Skördetid. Vi skördade Miljoner Döda, Sandor Rado och Femtekolonnare. Denna gång så skördar vi Solo Archivist-släppet “Present Is Eternally Past” och Miljoner Döda, vars släpp går under namnet; “Ingen väg ut, bara ner“. Med andra ord så är det Ingen Våg 015 och Ingen Våg 016 som lyssnas igenom, denna gång. Det som är mest intressant när man avhandlar mindre skivbolag, är när man inser hur mycket dedikation det egentligen ligger bakom dessa släpp. För merparten av låtarna ligger alltid över nio minuter, och kassetterna fullkomligt skriker D.I.Y.

Det måste även påpekas att det är härligt att upptäcka vad som växer i den underjordiska myllan, när det kommer till Växjö – något man kanske inte upptäckt annars, om man inte fått något intresse visat från det andra hållet. Hur som helst är det sprängfyllt av dystopi, precis som förra gången, men det gömmer sig faktiskt en eller annan överraskning också. I denna del blir det som sagt två styckna recensioner, precis som det var i den förra. Skillnaden är liten, och det är fortfarande låt för låt som gäller när det recenseras. Välkommen till Del 2 av Skördetid, och den andra delen i den mytologiska beskrivelsen utav Ingen Våg Kassetter. Jag hoppas att ni finner stort nöje i att läsa vad som skrivs.

a2190587791_10När det kommer till Miljoner Döda så kan man lugnt säga att den här kassetten innehåller det värsta hjärntryck en människa någonsin kunnat tänka sig. Nu åsyftar jag trycket som samlas på hjärnan, när den trycks in med en noisekavalkad så tung att öronen håller på att spräckas. Outhärdligheten har fått ett musikaliskt ansikte endast en minut in av lyssningen, och jag försöker att erinra mig om när jag senast hörde ett sådant extremt klaustrofobiskt ljudlandskap. Det är som om de övergivna industriella giganterna kommit till liv igen, fastän de varit övergivna i flertalet decennier. Den karga Sibiriska tundran som bankar på det ödsliga huset, i form av en järnhand, som levererar musikaliskt snömos till extrem överdrift. Nej, den nästan 19-minuter långa låten kan inte konstateras att var enformig, men det är svårt att pulsa igenom och ta till sig då det bedövande ljudet lämnar en rungande huvudvärk av guds nåde. Även om det finns en hel del komplexa arrangemang i denna låt, så kan jag tyvärr säga att det är väldigt svårt att ta sig till det som kommer ur hörlurarna. Eftersom att man knappt ens kan ta sig igenom de första minuterna. Inte för att det är dåligt, utan för att det är så otroligt extremt att det inte finns utrymme för en hjärna – som inte är byggd av stål – att ta sig till slutet av låten. Dock, efter ett antal plågsamma stunder där “musiken” varit tvungen att stängas av, så finns där ändå någonting som letar sig tillbaka till mig.

a2753412439_10Den ensamme arkivisten. Solo Archivist förgyller min dag genom att släppa sol igenom måltäcket. Det känns som någon form av tribalistisk ambient, som ändrar skepnad ju längre in i ljudlandskapet som man kommer. Trots att detta kraftpaket är indelat i olika sektioner, från den flummigaste flöjtmusik till en blandning av karg akustisk folkmusik. Det enda man vet säkert med detta är att det sakta men säkert flyter in i vartannat och lämnar mycket till de experimentella krafterna att få övertaget. Sedan, bara sådär helt plötsligt, så kan allting ändras till en melankolisk noisevagga. Ond bråd död väntar vid hörnet när de långsamma drönarna lagt sina vantar på oljudet som strömmar ur högtalarna. Bubblande och släpiga ljud kan höras längs med ljudkorridoren som istället för att vidga sig, sluter sig och blir klaustrofobisk. Två världar möter varandra mellan varje låt som går. Det låter som om någon har övervintrat i Indien och tagit med sig deras inhemska ljud. Där sådana instrument får spela en större roll än vad som är nödvändigt. Ibland känns det onödigt flummigt att lyssna på och det leder inte direkt någon vart. Man blir inte direkt uppiggad av det heller utan snarare slö i huvudet. Snabbt så ändras det till förmån för det noisekör som man har vant sig vid när det kommer till det andra släppet. Även om det känns hårt till en början så är det snarare dova oljud som hörs mellan de sprakande ljuden som låter väldigt likt leksakspistoler. Det rent av syrliga ljudet som långsamt krånglar sig ur högtalarna är lika segt som polkagris kan vara. Men det är en positiv överraskning emellan varven, även om det inte direkt är musik som tilltalar en själv. Både när det kommer till det rent psykedeliska och när det kommer till noise. Här känns det som om man släppt på klicheérna och bara kört på.

Listen: Various Artists – Kollektion 6

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The sixth installment of the selection made by Katabatik. A compilation titled “Kollektion 6” featuring both artists and groups that are a part of the roster, but also those whom aren’t. This compilation is the sixth in a row of free compilations that can be listened to through Katabatik. Everything in electronica from C.L.A.W.S. to Zania Morgan, to the Michael Buchanan (the label-owner) solo-project Identity Theft. Weird electronica, minimal electronics, sincere dark-wave, odd industrial and everything in between. The compilation itself features twenty-three songs from artists and groups like Mikronaut, C.L.A.W.S., Zanna Nera, Cinkrillan Weight, Silent Girlfriend, Abandoned Footwear, Obsidian Blade, Not Breathing, RPTN, Thee Source, Exillon, Identity Theft, The Vivid, aratKilo, Blue Window, Seacrypt, Nebuzaradan, Zania Morgan, Antlers Mulm, Veil, Ionophore, Fluorescent Gray and Sinew. Representing the US as a whole, but mainly Oakland, throughout the rest of America. But also featuring international artists and groups whom are everything from known – to unknown – to somewhere in between. The compilation is rather eclectic but seem to highlight the weird combination between forceful techno, acidic house, 1990s themed dance music funneled into psychedelia – and otherwise forgotten electronica, but also new beat mayhem. Maybe not really my cup of tea – but it might be yours. Stream the whole compilation in its entirety down below.

Listen: Nostilevo #55 – Men Of Bissau – To Heal In Paradisó [#1]

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Men Of Bissau, Avellan Cross and Siobhan – are all a part of the April batch of cassettes from one of my favorite label(s) Nostilevo. Three cassettes whose sound-scape become alike, but differentiate in many ways. “To Heal In Paradisó” is the first effort, “TECHNOISE [MTN K7]” the second, and “Enhancer” the third. The last-mentioned release is a re-release of a 2010 cassette – the debut-album by Siobhan. Welcome the new wave of industrial from the heartland of urban Detroit, to San Fransisco heat, and the global experiment and throwback reference of “Club Baraka” – the first release by Men Of Bissau, ever. Featured in the first section of three for you to listen to [#1], is Men Of Bissau. You don’t even know what you’re getting yourself into.

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Men Of Bissau, not the same men as before. With “To Heal In Paradisó“, these men retire from their original intentions at “Club Baraka” – just to transform their new outfit into an even more ritualistic experience. It’s hard to conceptualize what’s even new about it, more than by their rather ominous theme. Experimental industrial is what first comes to mind, as the hissing sound of tape-distortion is put out, channeling their sound-scape into a veritable sonic explosion. Spiraling upwards into a chasm of dismayed sound that would put a digital experience to shame. This is in its entirety an analogue, but freakishly lo-fi concoction of the most horrid sounds imaginable, put forth with the sabre of a new wave in industrialized nonsensical gibberish. Flying the flag of a rather minimalistic and claustrophobic, mass hysteria, in agonizing noises that grind your gears until your ears could decay. The maniacal flashbacks in a murderers sense of the world, a war-zone of stirred emotions turned upon the general whom had been a character with ill intentions, flying away into retirement, leaving behind a trail of blood. For those who take great interest in these men, it might not be hard to understand their intentions. Because they act accordingly to how they want to be portrayed through sound. We might never know if this is their real representation, or just a world they paint up with the most unimaginable atrocities in mind. Themed perfectly to suit a journey through roughly thirty minutes or more, taking an even more absurd turn when they decided to change their behavior. This will have you interested, this might even destroy you in ways not humanly possible. It’s an otherworldly experience when listening to it, but it is also hard to grasp properly. Perhaps that’s the whole meaning behind it. Six tracks, healing your soul, heated exchange with a post-apocalyptic and futuristic vision. Human decay going strong. Featured as a cassette-release and categorized as #55 by Nostilevo, limited to 133 specimens, 33 with silver label and 100 with a gray label.

Listen: German Army – Millerite Masai

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The Italian army has turned into the German Army, as they march in line together. With an amassed amount of albums released on various labels, this German Army returns with another piece of dank esoteric otherworldly piece of music. Their rather sluggish approach takes a toll when they mix the rhythmic delight of kraut-rock, blended together with various psychedelic elements that make a certain masque on the sound itself. These different samples, ghastly as they might be in some ways, provide a monotonic shell for the outer dub to rumble away undisturbed. Everything is layer upon layer of goodness, as you experience the most experimentalist trip you’d ever wanna take. Churning out an even more massive amount of albums in the year of 2013, they make sure to shorten their tracks and leave a lot to the mind of the listener. His interpretation is what rules, because if you can make this into nothingness by being scared away by the oblique sound – make sure you strap yourself in, because this kind of music gets to you brain. You could call it an intellectual barrage, or you could call it gibberish. It’s all up to you. But these uniquely differing vibrations make your body turn in a way it shouldn’t, and in a way it should. Look for the sublime in this music, and you shall find. Yerevan Tapes are kind enough to be releasing their album “Millerite Masai“, a staunch look into the worldliness of music, applying every different ethnic vibe together with the harsh reality that we live in. Brace yourself, because 2014 might also belong to German Army. Because they have a lot of tricks up their sleeve. Stream their album down below and enjoy the weirdness, freak out over their repetitive notion, move your body to the overt rhythm.

Exclusive Premiere: Sebastian Melmoth – Prosopagnosia

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Venture from the Swine Supremacy in Norway, to a more dizzy experience in the world as such. Getting stuck in the desert with engine failure is only your own fault. As the sun gets hotter and hotter, you get more and more dehydrated. Hallucinations emerge, and you venture into the vast desert on your own. It’s a rather solitary experience, as you gasp for air and try to use your body to your own best interest. You have no idea how much longer you’ll be on the living end of the spectrum. Your newly accompanied friend in your head, Sebastian, is a rather weird figure. He just came up to you from nowhere, but you have no idea that you’re still hallucinating from dehydration. These figures in your head change into different subjects, with names that you recognize from elsewhere. In 2012 they put out “Dysphoria/Accidentally Grotesque” on Feline Vomitus, calling themselves: “Elijah van de Wilde, Mandi Taylor-Taylor and Peter and the Wolf“. This totally irrational experience lay the foundation of what people would like to call Sebastian Melmoth, a rather sinister collective that has a habit of occupying your mind – when you’re in extreme distress. Their latest release is “Emetophobia“, an irrational fear or anxiety of or pertaining to vomiting. But it’s certainly not their last, as their carelessness and pseudo-nihilism made them churn out yet another one, which will be out on the day when we’re supposed to be extremely loving to each other. This is a whole other kind of thing.

When will Beläten actually learn anything about responsibility? Probably when the end is neigh, I suppose. His newly appropriated path to eternal dominance comes with uncompromisable acts of terror. A sonic terror of which you’ve rarely been accompanied with. He’s virtually gone insane with the latest stunt that he pulled, with the usage of khmerian numbers instead of runes. When you start to take a liking for something, he suddenly, out of the blue – decides to destroy it, with impunity. As number “2” () in this order is being rolled out, it gets even weirder. As we move into a totally unfamiliar territory, risking our sense of the world to be tinkered with forever, leaving us in this state – in all of eternity. Be sure to watch the stars tonight, because you will not see them in the same light when listening to this mish-mash of different psychedelic experiences, krautrock delivered with a subliminal message, and the openness of the total darkness that they don’t see to want to hide. You’re in for a ride, chump. A ride that won’t end until you’re off it, because you can’t stop it by any means, even if you’d want to.

Here at Invisible Guy, we try to give you a little bit of everything. We can tell you, if you haven’t already noticed it, that this is something out of the ordinary. It’s a part of the three cassettes that will be up for pre-ordering on the 14th of February, and this is the second cassette in that line of cassettes. Have art-rock ever been an interesting pastime, have anti-rock ever had such an odd pair of genres to be included into, and have the world gone mad? No, it’s simply Sebastian Melmoth and his minions, serenading you for whatever it’s worth. Resurrecting the awfulness that was Ulrike Meinhof and Andreas Baader, to mention just two people that are involved with this, taking their names for this release. I told you that it’s a quite unconventional approach, but it’s even unconventional for Beläten. This weirdness is titled as “In Ruins“, which is a suitable word for the experience we’re about to induce you with. Yes, not give you, but induce you with. The question is if you dare even to approach it, as the track we’re giving to you goes by the name of “Prosopagnosia“, which is the name for ‘face blindness’, a cognitive disorder of face perception. You might not recognize what you’re about to hear, but you might even get impaired. Take the chance now to hear it, because you won’t hear it again until Friday. Exclusively for you, we give you “Prosopagnosia” for you to stream here on Invisible Guy. The release itself will come with the batch of three cassettes that are up for pre-ordering, on the 14th of February. Lovelessness might get more lovely, but I suggest you’d play it now instead.

Label: Beläten

Cat#: 2 (២)

Artist: Sebastian Melmoth

Exclusive Song: Prosopagnosia

Title: In Ruins

Format: C30

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Trying to describe the works of Sebastian Melmoth is a Sisyphus task if there ever was one. Just when you think you’ve figured them out, they throw something new into the mix and you’re back where you started. Through these 30 minutes of music, we’re treated to post-rock vibes, psychedelic ballads, epic dirges, motor-driven acoustic dance music, twitching post-punk, all wrapped in a distinctly intellectual package. What makes them all that more alluring is that they somehow manage to make this bewildering melting-pot of styles gel, and seem completely natural.

Added as digital bonus tracks, are three remixes. DTT twists Presley Honey into blissful chamber pop, Bass Clef adds an even more peculiar atmosphere to Prosopagnosia, and in the hands of Jonas ‘cup MT’ Golland the same track is turned into what can only be described as Art House.

You listen to what the head-honcho has to say, otherwise we’ll leave you in the desert!