World Premiere: Mlada Fronta – Strict Dress Code

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Originally a group, now a solo-project. The French electronica-group Mlada Fronta, originating from Cannes, have had a rich history which has left a huge impact on techno, electro, EBM and industrial foremost, but also on ambient and IDM. Before entering the well-deserved limelight, the group released “My Visions“, “Illusory Time” and “Tribal Apocalyptic Dance” – one debut-album, three albums – spanning from darkwave, to industrial and electronic body music. Suggesstive undertones, hypnotizing atmospheres that make way for you to enter a bizarre tunnel of sound which have swept over you before you even know it. Undeservedly underlooked albums that might’ve been the collective form that molded their critically acclaimed breakthrough “High Tension” – an album that was as varied in terms of genres – as was the sound. No room for any clichés, only a space reserved for a palette of different but equally intriguing tracks, strengthened by the crossover itself – not swallowed whole. The track “XB-33” went on to be a banger in the clubs and could be heard everywhere – in 1999. We’ve taken a liking to the title-track itself because of the harsh sound, but “XB-33” surely packs a rhythm that will even make you flail your arms around as if you didn’t have a pair.

Taking the step from Tribal Productions, which almost exclusively released Mlada Fronta’s albums – the German label Flatline Records cut their piece of the cake with “High Tension” – first album to be released by a label other than their own, or at least their first deservable spot on a whole other roster. When the 1990’s were over, it seems like Rémy Pelleschi of the group took his own route with the moniker and released “Fe₂O₃” on the French label M-Tronic. With the earlier albums they had been a collective, a group of people working closely with Rémy on earlier albums before the 2000’s, including: Gilles Saïssi (My Visions, Illusory Time, High Tension), Jan-Louy (My Visions) and Philippe Croq (My Visions). With the album on M-Tronic, Rémy took to a more experimental side, mainly laying his focus on rhythmic noise as an overlaying sheet – taking to account all other genres he’d visited and re-visited during his earlier albums.

In 2002 an album titled “Oxydes” surfaced on Rémy Pelleschi’s own imprint Parametric. It included both the original album and remixes by a number of artists such as: Gom, Tarmvred, Milligramme, Dither, Mimetic and Data Raper. He even went so far as to remix one of his own songs. There was also a limited edition release of “Oxydes + Remixes” which included live performances from 2001 in Liege, Bordeaux, Lyon and Cannes. In 2005 a DVD was created and made under the name of “Dioxydes”, featuring unreleased material in an exclusive metal box, including twelve postcards, stickers, bonus material, photos, a live video from Maschinenfest in 2004, Le Cycle Du Soleil – and a radio-documentary called “The Shaker”. During these years, from 2001-2005, Rémy gained even more fame through bigger magazines picking up on his creative outburst which flourished during this time – as it did before, but with another goal and another sound in mind – so versitale as an artist and uncompromising.

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Let’s not write a whole biography here. There’s other labels who picked up on what he was doing, including Sounds Of Industry who released compilations of unreleased material, like “Contrast 2005-2011 Unreleased And Rare Tracks” and “Contrast 1998-2004 “Unreleased And Rare Tracks“, together with digital releases of “Dioxydes“, and “Le Cycle Du Soleil” – two different versions, one as an album and the other as an EP. The torch was then passed on to Artoffact Records, whom did an ambitious project collecting copious amounts of tracks which carried virtually (almost) every release that Mlada Fronta had put out – re-mastered and re-packaged into a 10xCD Box Set, in 2013. Now they have gotten the honor that it actually is to put out his comeback, an insane album that showcases the talents he still has and reminds a lot about “High Tension” – but actually carries the executed electronic body music and industrial sound – into another dimension including IDM and Techno among the main perpetrators.

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Repartiseraren is a really tiny blog-zine. We could not in our own imagination even fathom that we’d have anything to do with Rémy Pelleschi and Mlada Fronta – ever. But since Artoffact Records will release his forthcoming album (and return) “Polygon” now on the 4th of November, we’ve gotten the rare opportunity to exclusively premiere a track from this album. It is a rather anthemic and harsh electronic body-influenced track with techno smashed into it, titled “Strict Dress Code“. We’re the first to be showcasing his material now when he’s returned. This is a world premiere only available from Repartiseraren for you to stream exclusively. We’re proud and thankful for this opportunity. Please do it justice and listen to it loudly, then go over and order what ever version of “Polygon” you want at Storming the Base. When you think about ordering it, “Night Run” will be the “companion” vinyl-release to this forthcoming one.

Listen: Michael Idehall – Spiderwoman

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Det känns som att det var ett bra tag sedan som Michael Idehall var i strålkastarljuset. Åtminstone om man ser till täckningen för hans album “SOL” som kom ut 2012. Men visst är det förståeligt, eftersom att han inte släppt ifrån sig något på väldigt länge, utöver enstaka alster här och där. Michael hör verkligen hemma hos Beläten, det är där han kommer till sin rätt, tillsammans med den brutalt råa och mörka estetik som Thomas Ekelund låter representera både hans åtagna livsuppgift – men även för de artister som hamnar under det omakligt stora paraplyt. Om man ser till den låt som lades upp på Soundcloud av Herr Beläten själv, så kommer “Spiderwoman” väl till sin rätt med sin apokalyptiska och stormiga stämning. Detta är nämligen Michael Idehalls senaste alster från hans kommande släpp på Beläten betitlat “Deep Code” – som utkommer den 12:e Maj. Egentligen så får man inte vara så här hård när det kommer till dansmusik, dessutom får man inte ha så råa övertoner, för det krossar verkligen allt motstånd som någonsin ens skulle våga sig nära tronen där han sitter.

Underjordens okrönkte konung inom apokalyptisk dansmusik i harmonisk blandning med allsköns influenser men främst den rytmiska noisevagga som han hämtar allt sitt mästerliga gift ifrån – han förgiftar oss med sin makabra uppståndelse – och slår ner hårt på de som ej redan blivit troende. Varje gång den markanta bastrumman slår ner så låter det som om själve Tor och hans hammare spikar ner den sista spiken i den underjordiska kistan. Blixtarna slår till och ger upphov till den svängiga ljudvallen som spräcker trumhinnor så långt det än må höras. Det ska bli spännande att se vad som sker i de andra låtarna, men om de skulle vara ens i närheten av detta ljudlandskap så måste vi förmodligen lägga ner tangentbordet och packa ihop, det är ändå inte lönt att beskriva den mästerfullhet som med bravur svingas i kraftiga slag mot allt vad vår heder heter. Jag ger i så fall upp och låter honom stå som nummer ett året ut. Ni kan själva lyssna till “Spiderwoman” här nedanför.

Support: Various Artists – No Good Deed Goes Unpunished (Benefit For Stephen Petrus)

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Among those people that I associate with as I write for this blog-zine, have contributed to a compilation which works as a benefit. I’m not that much for supporting causes randomly, especially not when it comes to general causes as such. But since I like industrial music, dark ambient, rhythmic noise and everything in between those genres, I thought that I had to support this in one way or another. Mostly because all of the money that is generated when people purchase this compilation, goes to Stephen Petrus, whom from what I’ve seen have been somewhat of a figure within these genres – and a friend for those that I associate with. He’s most known for Murderous Vision, a long-going industrial solo-project and alter ego. Originally founded by himself and John Dixon, as an ‘anti-rock’ entity, in 1994. Even though industrial seem to have been the main focus lately, it’s been within the range of genres such as metal, acoustic rock music, and as a more tangible outlet.

There is a reason that this compilation is a benefit in the first place. Malignant Records‘ main guy Jason decided to collect exclusive tracks from different artists that participate in this benefit, to help Stephen Petrus with financial means, as he lost his home and all his belongings in a fire. So therefore, Jason decided to start a benefit, as a compilation – where all the money collected from people who buy both the digital version and the CD version, goes to Stephen himself, to help him out. The artists and groups that are participating on this compilation, in order to help him, are: Phragments, Inade, Kristoffer Nyströms Orkester, The Vomit Arsonist, Æther & Trepaneringsritualen, Shock Frontier, The Scapegoat Mechanism, Theologian, Bereft, Megaptera, United Front & Shock Frontier, Blitzkrieg Baby, Steel Hook Prostheses, Sektor 304, Sewer Goddess, Dreaded, Fire In The Head, Swollen Organs and Naxal Protocols. So there are a lot of notable groups and artists that want to help him out. Invisible Guy also wants to help him out, since he seems to be a good guy, and is closely associated with those that I have associated with lately. Therefore, I see it as my duty to write something about it and buy it myself.

I see no reason why you shouldn’t buy this. If you’re not motivated by helping him out as a donation, you can at least buy this release digitally or physically – so the money goes to him, and you get something in exchange. But I’ve decided to buy it digitally and support this cause with the money I have available in the coming days. So why don’t you also do it? You can currently stream a track by Steel Hook Prostheses and Phragments, and all the other tracks will be available upon release. This release is out on the 24th of February. The physical format is 2xCDr, and the digital album currently costs eight dollars.

Listen: Xakatawaga, Blue Krishna, Bad User Experience and David Allen!

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Finally, the four releases that were incorporated into the MMXIV Winter catalog at Nostilevo, are released. Neal Samples may be the one behind the moniker Xakatawaga, as you otherwise know him as Tollund Men, but also as the proprietor of Bleak Environment – an independent label, based out of America – that specializes in industrial, noise and black metal. The repetitive motion that is released with “Vol. 1“, which is the first release under this moniker, reminds me a lot of schranz techno, except the fact that the basis for it is more or less based on the off-shoot of techno, mixed in with industrial experimentalism and rhythmic noise. Bob your head from one place to another, as this bleak and repetitive notion keeps on rolling by – watered down by psychedelic hallucinations. Conjugating with the rough winds beneath, extracting and putting in place – what makes industrial so harsh and barren in the first place. Transgressing the narrative that techno is only techno, crossing over into unorthodox territories to make the combination even more wild and interesting. Four tracks that span up to 23 minutes in length, if added together. Featured by their names, in correct order; “Uay“, “Blue Soul“, “Cygne” and “Nu Contact”. Buy this release for 7 dollars if you want a cassette, or 6 dollars if you want it digitally. I’d suggest you getting the physical release instead of the digital, since it’s only 1 dollar more and you get something you can hold on to.

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Being one of the most interesting releases in this batch of four, Blue Krishna makes the best of what you can take from new-wave and slap their own electronic vibe onto it. It’s in the atmosphere of industrial as such, making use of the experimental nature, forcing their own synth-popish backstab, into the psychedelic trench. Alex Jarson from Body Of Light, which can be heard when you listen to it, shapes his own form of badness through Krishna. Yes, that was a really lame joke. But influences from that project can be heard in this as well. Having been tightly affiliated with Ascetic House under his aforementioned moniker, made it to Chondritic Sound in the end, and transformed into Bad Krishna for his place to be – which came to be Nostilevo. The project delivers the most interesting differentiations, as lavish synth-pop with industrial drums is turning its way into your consciousness. Leaving you with some hope, since it’s only beginning. With a ceremonious chant applied to a dance-rhythm infused into the harsh landscapes of industrial. Clocking in at 23 minutes, roughly, when all songs are added up. The album is titled “Repeat Until Death” and feature the four tracks; “Can’t See The Line“, “Taman Shud“, “Mayflower Spring” and “Rising Sun (It’s Just Beginning)“. Buy the digital release for 6 dollars and the physical cassette for 7 dollars. It seems like a lot comes out from Los Angeles, and that a lof ot it never leaves. But we’re now left with Bad Krishna. Even though it is hard to understand, it’s probably among one of the more unique sounds I’ve heard in my life.

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This is one of those projects that you wouldn’t care too much about in the beginning, but the more you listened to it, the more it enthralled you. Bad User Experience‘s release “CGi” feature a lot of tracks that have been featured elsewhere, like the track “Look NE Direction” that was on the “Industrialized [FROM] Sense” mixtape that came out last year, here on Invisible Guy. This is a total mind-bender, which allude to the more bizarre sounds that can be fitted into different categories, if at all. There’s certainly a sci-fi influence, which shouldn’t be hard to hear at all, and it basically feels like drifting into a black hole and experiencing it from within – with all the absurdities that come with it. Or maybe, if you’d incorporate the phenomenon déja vu into music-making, with the main difference; of it happening every second that you’re producing anything. Some of it is lo-fi groove in a can, other things are re-hashed hits evolving into an industrial mess of danceable beats. I believe you’ll have to have some kind of substance in you to make any sense of it as a whole. Which is certainly not anything I would recommend, but it seems to be that way. This release has six tracks and they come in the order of: “FORUM“, “The Matrix The Movie“, “BLACK HOLE BRENDAN“, “DESIGNegative“, “Look NE Direction” and “WATSMATTU“. It can be bought digitally for 6 dollars, and physically in the form of a cassette, for 7 dollars.

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It’s time for something more outdrawn. In the sense of longer tracks, more specifically. David Allen is the last one in the batch of these four cassette-releases, with his collection of three tracks titled “1188 OST (Sections I​-​III)“, which follows an abstract theme. Gradually shifting from noise in the first section, to claustrophobic industrial in the third section. It gets louder and more noisier, and then it suddenly cools off and gradually shifts to getting even louder. The inherent meaning behind this release is something that is unknown to me. He explores the different modes and settings, in which he makes music with. But this could be considered to be virtual non-music, and someone else should try to explain it more thoroughly. I must say that this release might just be for people whom are interested in experimental and noise, but also in the different subtle changes that can be made within the time-span as long as over 12 minutes. Because some of it I don’t get, and some of it is frightening. If you leave your telephone laying besides the holder, this is probably the noise it would make. Anyway, it clocks in at roughly 30 minutes all-in-all. The tracks are as follows: “Section 1“, “Section 2” and “Section 3“. It can be bought digitally for 6 dollars, and physically in the form of a cassette, for 7 dollars. So if you’re deeply entrenched in noise, this would be something considered well-worth of being bought.

Premiere: Cervello Elettronico – She’s Got Damage

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Frequently, we disguise our most delicate passions within a premiere. We’ve rounded up a real treat for you this time, as we’ve gotten a hold of Cervello Elettronico. A multifaceted electronic project that has been up and running since 2001. Manufactured by the man himself, David Christian, whom also is the boss of the label SquareWāv. His latest release will be out on the 21st of October and is titled “Anima Meccanica“, which is being put out by the label Hands Productions. This is a staunch reminder for anyone who’s ever traveled deep into the hole of underground electronics. Your deathwish has been answered, and the cataclysmic beats haunt your conscience as you travel through the dense tunnels of your subconscious. Remember, you’re just the pawn that he’d use for his mind-numbingly harsh and bombastic drums, as he cuts your escape off and forces you right into the corner. Sharp synthesizers slice through your eardrums, crisp noise crash into your auditory canal. It’s everything one could expect from a side-step into electronica, harsh rhythmic noise – with a heavy dose of industrial. The guideline for it all is techno, taken from the deepest and most intriguing batch of that hardline genre. Anyway, I was side-stepping a little bit too much when it comes to this album. But from what you can hear, it’s actually really good. So therefore, I’ve been allowed to share an exclusive song with you from this album. It’s titled “She’s Got Damage“, and you can stream it exclusively from Invisible Guy – down below.

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It came with an awfully industrial-looking piece of wooden goodness which looks like a gearwheel. A nice touch to an otherwise boring and bland universe of different CD’s and Vinyls. I now understand why the label specializes in packaging more than anything else, because it adds up to an otherwise pretty forgotten dimension. The uniqueness of this addition can be felt when you’re holding it in your hand and when you get to see the wonderful mechanism, where you can “scroll” the gearwheel up and down in a range of motion that gearwheels do when they’re included in a whole system. I don’t know if that was intentional or not, but it was fun to do it for a while and after I’ve loosened the bolt a little bit, a wonderful 7-inch fell into my hands and was ready to play in my vinyl-player. Also, the fact that it’s a cogwheel that you spin around instead of opening it with a screwdriver, adds another nice touch to the experience that is both listening to it and seeing the package opening before you. Hopefully this will serve as a catalyst for other labels, to do the same thing, because if they did people would be all over the place to buy from you.

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