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).

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Showcase: The forthcoming Enfant Terrible-releases

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Over fifty releases have been shared to the world through Enfant Terrible. The sub-label Gooiland Elektro is almost up to half of that number. What an exciting time to be alive, especially considering the quality of releases that has been put through both labels. Having garnered a notoriety of being a good label when it comes to experimental electronic music, people have started to notice their presence even more. We’re setting up a digital showcase of the releases that are coming out now in the beginning of October.

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LCN – Autonomie EP

LCN or the alterego for Le Chocolat Noir have been a guest on the 2016 compilation on Enfant Terrible, titled “Noblesse Oblige“, with the song “Appartenance“. The only other release is a collaboration with Zarkoff on the Iron Flute 12¨ released by Return To Disorder. His electronic music could be described as some really weirded out electronic body music, together with electro vibes that keep the notion of sanity intact. Claustrophobic minimalistic and repetitive, always on the edge musically and on par with other acts of the same caliber, maybe even in a corner of his own.

This will be his first multi-track release and EP, which is an exciting thing in of itself as this kind of music almost never make it through, unless you’re into it. For those who like the more experimental side of earlier electro, this release is something you should look into. A mixture of french and german can be heard within the lyrics of the songs. Everything is an eerie reminder of how sullen things can be.

It will be released on a limited edition 12¨ (of 200 copies) with screenprinted sleeves, as Enfant Terrible (ET052) and Gooiland Elektro (Gooiland 29).

Tracklist (with previews):

A1 N’Écoutez Pas Tous Les Conseils De Vos Amis
A2 Dans Mon Désordre

B1 Solitude
B2 En Retirant

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Savage Grounds – Area Of Violence

Switzerland duo Savage Grounds have laid their foundations with another label – with three releases on Lux Rec – now join up on Enfant Terrible for their latest EP. Their earlier sounds are not as refined as they are on this release, where it packs a momentum unheard of when it comes to electronic music. It is really heavy but at the same time catchy and melodic. According to the label itself, these musicians venture through and beyond their description of “post-techno” – what ever that is supposed to mean anyway. This is music that transcends those etiquettes but fit into them like a glove at the same time. It is rough, gritty and unrelenting.

Taking obvious steps into acid and industrial as well, alongside electronic body music, this seemingly instrumental take on those genres combined is well-matched. They outclass most of what you’re able to listen to when it comes to these genres post-glory days. At first a mesmerizing but gloomy appearance musically, quickly descending into utter hopelessness and then back again when hope shines eternal in the end. It’s one of those offshoots from this great label that make everything worth it, even if you can’t appreciate the level of experimentalism they work with.

It will be released on a limited edition 12¨ (of 250 copies) with screen-printed sleeves, as Enfant Terrible (ET053).

Tracklist (with previews):

A1 Concrete Tunnels
A2 The Role Of Iron

B1 Wall Of Rubber
B2 Negative Spaces

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Staadseinde – Neue Zyklus

The débutantes with the name of Staadseinde present their first EP, 6-track strong, with the same playfulness as ever but wrapped in a more serious and sinister tone. It brings back the more emotional side of electronic music as it is fine-tuned to our heart’s delight, relying on the more basal human needs musically as they churn out melodies upon melodies, with no strings attached emotionally but a hell of a lot invested when it comes to the listeners attentiveness.

If you thought the a-side wasn’t weirded out enough in terms of experimentalism, see the other side (b-side) for that almost pop-oriented edge and electro-pop vibe that brings out all the ghoulish tendencies of their sound. Yes, one can very well hear the influence of Welle:Erdball on some of these tracks, if they had a screw loose and were more pleasurable then their latest albums. Staadseinde’s earlier releases will remain the favorite for now but this release is worth checking out for the sole reason that it is Staadseinde.

It will be released on a limited edition 12¨ (of 250 copies) risograph printed sleeves, as Enfant Terrible (ET054).

Tracklist (with previews):

A1 Min Min
A2 Kosmos
A3 Darling

B1 Just Chaos
B2 Volar
B3 Yedo

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Garçon Taupe – The White Spider

This is a release I myself would get only because of the aesthetics of it. It has a wonderful schismatic feeling to it, the contrasts of it are also wonderfully pleasant in a gruesome kind of existential manner – perfect for Autumn and the coming winter. Garçon Taupe is new for us here at Repartiseraren but nevertheless as it is an Enfant Terrible and Gooiland Elektro release, we’re sure we’ll be somewhat in awe. It is a completely dutch affair it seems, having only had some of their tracks released, by the label Narrominded.

It is a very quirky sound. You either love it or hate it, think it is enigmatic or simply an annoyance. One can’t deny that their sound is somewhat unique in a way. For the acid-lovers the b-side will be a huge surprise and it slowly grows on you, as the beats pace along fast enough for ones limbs to awkwardly match themselves to the rhythm. The last song on this record holds an especially groovy beat which is poisonous to say the least.

As a joint operation between Enfant Terrible and Gooiland Elektro, this release will be on limited edition 12¨ (of 200 copies) with screen-printed sleeves, going under Enfant Terrible (ET055) and Gooiland Elektro (Gooiland 30).

Tracklist (with previews):

A1 The White Spider
A2 Roll The Dice

B1 Crevasse
B2 Retreat

Excusive Premiere: Michael Idehall – Dream Circuitry

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Michael Idehall have been featured here countless times, but he never ceases to improve in regards to his industrial music (seancetronica) – now releasing his eighth album, if you only count full, solo releases. His work spans from the occult and back into electronic music, beyond any comprehension at times and sometimes in the realm of fathomable. With this album on the German label Raubbau, titled “Machine Spirit Transmission” – he widens his approach exponentially, including more beat-oriented sounds in terms of a general theme musically.

Aesthetically it features a new emblazoned symbol which we don’t know the inherent meaning about, but for those eager to know about the symbolism of Michael Idehall (the project), you should venture through his gates and into The Hermetic Library. Without knowing all to much, Aleister Crowley seems to be an influence in terms of the occult and esoteric nature in which music like this is created.

We’re pleased to announce to you that we’ve teamed up with Raubbau to bring you a full track from the forthcoming album. “Dream Circuitry” is the middle-point in which this album is construed, or at least that’s how we feel about it. Tune in and remember to buy the physical tape from the Raubbau distributer ant-zen, or simply order the digital release from Raubbau if you prefer it that way. The release date for it is on the 25th of October.

 

Exclusive Premiere: Interactive – The Bass Is On Fire

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Surrealistic techno, ambivalent new beat music and a large chunk of industrial is what could best describe Interactive. The 90’s duo have a plethora of singles and EPs to choose from, but only three albums in total – two of which were more of compilations then a proper album anyway. So it is with pleasure that we’ve dug in and taken out “The Bass Is On Fire” for exclusive premiere here on Repartiseraren, in collaboration with Mecanica Records. This is a re-issue that also contains something new – a remix by Ancient Methods of the title-track “The Techno Wave“.

What we like about the one we’re premiering, from the b-side, is the roughness and unrelenting experimental sound which they’ve produced. It is more industrial then it is new beat but still in the latter genre – which makes it a whole lot more interesting then contemporary music in the same style. So we present to you this song and hope you’ll enjoy listening to it. Some may even venture to say that it is techno as well – which is true in a sense – as it stems from the Frankfurt Tekkno scene.

If you like the music, order the 12¨ vinyl (or digital release, or both) from Mecanica Records. You can listen to the exclusive premiere down below.

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.

 

 

Listen: Dorisburg – Venom

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First single by Dorisburg since 2016’s “Time Stretch Totem” on Aniara Recordings, make for a well-thought out venture into the deep end of techno. Mixing the best elements of both atmosphere and beat, the acidic nature of each track on this double-single release is more then enough for a listening session. Each instrument is well-placed and the texture of each sound is mind-blowing in the sense of how good it translates musically, when put together with everything else.

The artwork for the release is ambiguous but simplified and pleasant aesthetically.  Mountain Explosion Device is the home to this release, having only been used up til’ now as a platform for Stockholm producer Kalawila to release some of his own music. The release itself is a very limited edition vinyl featuring “Venom” on the A-side and “Serum” on the B-side.

Get it from Dorisburg himself or Subwax (distributor of Mountain Explosion Device releases).

 

Lyssna: DDR Space Program – Race To Win

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Ett uppiggande släpp, minst sagt. DDR Space Program från Stockholm levererar optimistisk och dansant retrowave, i och med det senaste släppet “Race To Win“. Det låter som något som skulle kunna vara ett reklamsläpp för Tour De France på åttiotalet. Allt handlar om fart och flärd, ‘var den förste i mål och ta hem vinsten’.

Uppsvinget som denna slags musik har fått på senare tid är intressant och kan reflekteras över, för vem kan egentligen ifrågasätta den framtidsoptimism som kännetecknade 80-talet? Hur väl passar den in i 2010-talet? Det känns väldigt främmande att denna tidsanda kunnat återuppstå, så det är magiskt hur väl den kunnat anpassas i musikform till hur vi lever nu. Trots att det ibland känns malplacerat, så lyckas DDR Space Program producera en ambitiös och närmast gudomlig ljudbild.

Det måste också tilläggas att en av de främsta influenserna är italo disco, kanske inte i sin renaste form, men i samklang med nyare electroclash – vilket gör det hela ett snäpp intressantare, eftersom att den genren i sig sällan är något att hänga i granen. Det här är vad han själv har att säga om släppet:

Race to win är DDR Space Programs andra släpp. Som vanligt är den inspelad i min hemmastudio på mina analoga syntar och sedan mixad ihop med min kompis i hans studio. Det är viktigt att för mig att använda riktiga syntar när jag spelar in. Det är en viss känsla i att sitta och ratta på riktiga grejer och så låter det oftast så mycket bättre.

EPn har ett cykeltema, vilket kanske märks. Mest för att jag själv börjat cykla väldigt mycket och tycker det är otroligt frigörande och kul, samtidigt som det på något sätt passar genren eftersom både spacesynth och cykling är snabbt och tufft. Från början var nog inte tanken att det skulle handla om just cykling, men när jag skrev “Le Tour” så kände jag att alla låtar passade in ett sådant sammanhang.

EPn har skrivits och spelats in parallellt med att jag skrivit låtar och spelat in med mitt andra projekt “Carino Cat” som är renodlad italo disco. Självklart tar jag ibland idéer från det ena projektet och lånar ut till det andra, vilket säkert gör att italoinfluenserna är ganska tydliga i DDR Space Program. Känslan jag vill få fram med DDR Space Program är att folk som lyssnar på det ska känna att det andas 80-tal. Tiden då gated reverb var norm, virveln var blaskig, syntarna var analoga och musiken var bäst.

Lyssna till släppet i sin helhet här nedanför. Man kan också köpa en CD-skiva för 50 kronor om man mejlar till ddr.space@gmail.com