[14th|15th] December: STURQEN & Zex Model!

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raiaFrom the beginning there was “Raia” – third album STURQEN ever put out, self-released and all. A calmer more abstract release as opposed to “Peste” and “Colera“—two digital Eps discharged into oblivion, a Yin & Yang of total resignation. Also featured as physical editions in Cdr. With their third album they formed a pattern of recognition. They seemed to have wanted to step into paradise for one last time, before heading back from a retro-perspective “Praga” and “Pirahna“—their first and second album. The meaning of “Raia” is ‘Batoidea’ – which is the taxonomical (biological) super-order of rays, more specifically a cartilaginous marine fish which means that they, like sharks, have no bones in their body. These mammals are not the kings of the sea but they’re close to being. We think of manta rays – these huge rays that carelessly patrol the depths of open seas.

When you read the titles, they’re inspired by everything from the native ecosystem of Portugal – to Johannes Kepler, candelabras, mountains, CD’s, and Canary birds – a reference to Canary Islands? Also might be because “Canário sound like a chirping bird. Every song on the album seem to be an interpretation musically, also of linguistical importance title-wise – through genres STURQEN like to be associated with—or by accident. They break from this gateway completely with “NEOPHOBIA“, as they seal their original intentions in a box not to be opened again until it’s time.

neophobiaNeophobia seems to be a complete anti-thesis, full-on rhythmic noise techno experience, higher frequencies and a dystopic vision of the future for Mother Earth. The term ‘neophobia‘ can be summarized as: “a phobia for anything new“, in this case a disintegration musically – disseminating the “post-industrial“—specifically a technologically maddening, freakishly abundant, information society in which nothing has any meaning no more.

The world is entering a state of emergency, alarms sound nearby and everything is organized for resistance. Or might it be Earth rejecting its own organic structure? We hear a militarized sound, a call to war, in “Justo“, a machinated process rebooting and aircrafts lifting in “Ateus” – consisting of minimal analog instrumentation; distorted rhythmic sounds and a harsh beat. Just to mention two contrasting examples from NEOPHOBIA. Same theme – different characteristics and takes on a subject we yet have to uncover—perfect time for a thorough investigation.

What resonated with me the most visually was the edgy and spot on music-video for “Toxinas” – a song clenched from their third album “NEOPHOBIA“, released on the Ukrainian label Kvitnu, in 2013. The sport of fencing was suited perfectly with the experimental rhythmic noise David Arantes and César Rodrigues of STURQEN produce. Though we’re not impressed by how the elegant sport of fencing is portrayed as if it were post-mortem. Though it can be interpreted in different ways as was our first understanding of the music-video accompanying the song as some kind of tribute, but the more we think about it – the less plausible that theory becomes.

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Now when they’ve been accustomed—to such a wide degree of change, they settle in with an unreleased track for Repartiseraren own non-commercial collection Ljudkalendern. It’s titled “Pidde” and will remind you more about their debut-album “Piranha” than anything else. At least that’s how we hear it when listening to the song. A diffuse, experimental noise atmosphere that quickly fades in with a thrusting buzz, but stinging poisonous touch which decays – as the machine wheezes out its last steam, the same day the industrial workplace is shut down to pleasure the coming post-industrialists. Listen to the 14th December exclusive premiere of the earlier unreleased song “Pidde“.

 

dark-myth-ankoku-shinwa-takeshi-servant-of-brahman-and-god-of-darkness-susanoah-oh-eight-armed-horse-lotusZex Model is back once again, with a new track for Ljudkalendern. It’s titled “Ankoku Shinwa” and is influenced by the Anime-serie with the same name – which is synonymous to: “The Dark Myth,” original title in Japanese: 暗黒神話. In short the series revolve around prehistoric Gods from Japanese mythology, whose presence in the early days of Japan had a task to protect their sworn secrets—hidden in modern society. Since darkness is beckoning, the Kikuchi Clan have seen the warning and are ready to fight the spirits of the mythological creatures. The main character—a boy who tames the powers of the gods, could be the embodiment of the boys’ spirit in this song. A protagonist who does his utmost to defeat those who wish to do harm.

The religious Croatian christian orthodox chanting, might be a direct translation of the Kikuchi Clan warning about impending darkness—as his own voice, heavily distorted, out of the blue descends; to affright the listener. You hear a better, more improved version of the Zex (Model), as he rips up a wind of nostalgia, reminding us about some kind of crossover between Brigade Werther and other such experimental, borderline electronic body music, industrial acts. His inspiration from Anime is not to be taken lightly, as it gives a depth to the influence of this particular track. Not to mention his other discography. It feels like he’s found his spot and continually develop, so it can hopefully bloom out and become something unique.

He delivered a newly produced and unreleased track which everyone should listen to. It’s a step away from his electronic body music with a multitude of samples, focusing on fewer samples and entrenching his own distorted vocals. His contribution to Ljudkalendern may have more inspiration from elsewhere, but it mainly comes from that Japanese anime-serie. For the 15th December you can enjoy everything about a new model, not by any means finished, but a prototype.

Exclusive Premiere: Bad News From Cosmos – Akira

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Ukrainian improvisers Andrii Hrachov and Iryna Bodnar are two-dimensional in concept; life and death, but three-dimensional when producing, musically; free improvisations, analogue synth commanders and bound to no certain genre. For them, it’s important to conjure a narration that binds together an otherwise escapist, avant-garde free-form of music with its’ static topic. Not to say that it necessarily means that the motive itself isn’t open for various interpretations – but just so the music doesn’t go too far away into abstraction. They themselves say it’s an “eternal experiment” – which makes you wonder if and when they’re going to finish experimenting? Maybe that’s the point with the project and when it ceases to exist—so does the experimentation.

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Bad News From Cosmos have been alive and kickin’ since 2010, releasing their first album in 2013 called “kongogumi“—which may be a reference to “Kongō Gumi” (株式会社金剛組)—Japanese construction company, and one of the oldest independent companies still existing in the world. The album artwork features a White Cherry Blossom (Sakura) – Japan’s national flower, which represents different aspects of Japanese history, but also their culture. Here’s where they seem to have started to wander into a certain topic, whether they like it or not—or maybe, just maybe it’s a reference to bloom (life) and withering (death)—could it be? We’re not sure, but it is a possibility due to their strict enforcement when it comes to topics, but not as strict as not being re-interpretable within the linguistic possibilities of the words.

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The same year when Autumn turned into Winter, “Fjord EP” was released on the Russian label Simphonic Silence Inside. Etymologically speaking, the references sprawl into obscurity, where it not for that we in Sweden have fjords and our brothers in Norway also have it—calling it: “Fjord“; (“a long, narrow inlet with steep sides or cliffs“). What comes to ones mind is the landscape of Oslofjord, a rocky landscape, an inlet (or fjord) which seem to metaphorically strew and divide the Islands Hovedøya, Lindøya, Nakholmen, Bleikøya, Gressholmen, and Langøyene on either the left or the right side. We’re not so sure if their reference is even close to ours, or if they simply had a different take on it considering the artwork’s display of a mountain. We would however wish it was true. Or maybe it’s just a reference to Norway and their highest mountain – Galdhøpiggen. We as Swedes would’ve wished for it to be Kebnekaise, so we could take pride in being interpreted by their avant-garde.

We didn’t want to delve any further into their releases, it’s just that those two in particular interested us more and that we would be writing much longer, not getting to the main point of this article, if we were to cover everything. Which we’re not interested in. However, they’ve released three albums since the aforementioned releases and they’re titled (not in order): “Laid down to earth“, “Kids of the Soviet Tree“, and “Turquoise Hearts“—their latest release so far, on Amok Recordings. Wouldn’t it be nice if we actually got to the point now? Yes. So let’s begin.

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French label Anywave Records recently created a sub-division, or sister-label if you will, composed of a palindrome of Anywave—called Evawyna. The purpose was to have a label for digital releases only. So far Heather Celeste have gotten her single-track release “Austere“, re-released on on Evawyna. In this article we’re focusing on the second release, the continuation of Bad News From Cosmos, their forthcoming album “Pearls for Guttiere“—by now down below the sea, if we reference the artwork. Here they’ve taken “nippon-pop” from what we think is their debut-album (“kongogumi“), polished it and put it as the sixth track on this coming album. The mellowly sounding and beat-orientated experimentation relax our senses—feels like diving into the sea, snorkeling, seeing the beauty of the fabric in the ecosystem—and all the wonderful creatures living there. As it is sung in Japanese, we’re vaguely reminded about “Kaneda’s Theme“—from the by now legendary Akira 『AKIRA』(アキラ)(1988) film’s soundtrack, due to the sound but also the name: “Akira“. We’re proud to be streaming it exclusively from our blog-zine and we hope it fascinate you as much as it did for us.

[1st] December: Xiu – Law Of Light

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Winding down, coming home and changing around to accommodate ourselves to the reality we left for another — is not an easy task. We’ve just headed for a vacation and here we are, strong-armed by the world we left a couple of days ago. Time flies by so quickly, so we’ve just calmed down before there was a storm heading for us — a metaphorical one. Now when everything is moving back to what it was before we left it, we have something exciting to announce for everyone reading this blog-zine. You will not believe your eyes, nor’ your ears.

We’ve been working on a project in secrecy. Today is the day when we reveal what’s to come and what you’ll never want to hear, anyway. This project started some months ago and they were only going baby-steps, if anywhere, forward. It all began when I asked Xiu if she wanted to participate and lend an exclusive track for this purpose. She did so and asked if we could not include more people who would be featured in the project to come – so we said: “sure, why not?“. This resulted in the project being even larger then we could have ever anticipated. It grew from one to a number I won’t reveal right now, that will be revealed once the project is over. One of the corner-stones is that it is a non-commercial collection – not really a compilation to be released — but rather a “project” collecting fragments of what Repartiseraren is, and what is preferred around here. I put an emphasis on “non-commercial” and “collection“, just so there will not be any confusion with what it really is and what it is meant to represent.

It was really easy for the artists and groups that are featured on this non-commercial collection — to realize what they should and should not contribute with. Either an exclusive unreleased and newly composed song — or an already composed (but unreleased) track — for the sole purpose of being collected. What can be said, other then “we’re really overwhelmed by the response“? Nothing other than that. We would like to thank everyone that were and still is involved, because without you — this would not even have been possible to begin with. You’ve put your sweat and craftsmanship into it and you can tell by the way it sounds, no matter what genre you’ve set yourself up for.

So let’s get to the point. Since Oksana Rodinova (Xiu) was kind enough to give us ideas which helped the project further, she’s the one who starts this project off with a bang. We’ve gotten our hands on the track “Law Of Light” which is exclusive for this project. We think it displays how she’s evolved and how she can stop in evolution just to give another side of what Xiu is about, another insight — if you will. A suggestive and dark, but transparent song which deals with a certain topic in so many ways possible, within the realms of minimal synth and cold-wave — combined. Before you go ahead and listen to it, we’re also able to present a music-video for your viewing and listening pleasure. You can watch it above. So do that first and then read the first poem when you’ve opened the first window in this calendar:

Take me into the light,
let me be your plight
Lead me to your law,
so that I can withdraw

This is 1st of December and now the story begins. Tomorrow a new track will be released and the story will be continued. But until then, enjoy the exclusive song “Law Of Light” and the music-video for it, on Repartiseraren.

Spotlight: IC3PEAK – Vacuum

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Three releases on the same year ain’t bad for a duo. Nick and Nastya are two audio-visual artists based out of Moscow, that have released three EPs to date, one being a remix done for their track “I’ll Be Found” by MXXN, Sidewalks and Skeletons, Feki, Tyler Tastemaker and PrayForYourself. A track featured on their debut-EP titled “Substances“, which they had released by a label called STYLSS. What’s interesting about this duo is that everything you hear and see is made by them, as you can experience every medium you’d ever need to appreciate them. Mixing digital audio with analogue, to create their nice blend of untouchable witch house and hard-hitting bass music. Two genres I rarely appreciate, which these two have changed my opinion on – but only in regards to what they’ve been putting out. Now they have a third EP, or second – if you want to count it by original material.

So this release is titled “Vacuum” – a perfect description for their artistry on this release, by the way. You can’t help but adore the sincerity which overflows throughout their blend of steel and fluff. A balance of Yin & Yang, an experience that is captivating and showcased with the first track and it never really stops. No moment is a dull moment. It’s amazing how they fit you through their hourglass and decide what kind of time you’ve got left, because they’re in complete control of your senses. It can be hopeless to fall so quickly for a release, but it has really happened and it is hard to admit when confronted with genres that are often so banal. Nothing here is banal and it hooks you immediately. If I had a hate and love relation to Grimes, I have nothing but love to offer IC3PEAK. You can download the whole album digitally for free, but also order a physical CD, limited to 50 copies, from the label Stellar Kinematics – now!

Exclusive Premiere: Zex Model – Rokk

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Pink Sexdeath, Degenerate Slug, Demon City Reaper? Three names have one thing in common – they’re all names thought out – and executed in musical form, by a man living in Kaliningrad, Russia. Not only does he have all those alter-egos, but many more that I won’t list. He is or have been a part of two groups called Modern Howl and Ninika, each one different from the other, but also closely knitted together by darker genres. Even though he’s had a lot of projects going on at the same time, he’s dabbling with a special kind of project which he calls “Zex Model“. This musical project started out not too long ago and pushed him further into musical obscurity than what you’d think. Considering this, his project has risen in popularity since his first releases – and opening for Lust Of Youth in Russia. With his official debut-album “Mind Slaughter” having been released on desire records in 2013, and a self-released EP titled “First Mutation” – he solidified his presence further. Once a darling in the brooding underground, now a good rated artist fit for another level in the underground.

Simultaneously in another part of the world, a man by the name of Fade Kainer (Theologian, etc) self-releases his first album “Mask Visions Poison” under the name of Statiqbloom. This is in 2013. America have gained yet another notable industrial-act that strays away from the cliches, and embraces their own version of what inspired them in the first place. Meaning; they decide to twist the originals of the 1980’s and 1990’s by layering their own vision upon the ground which those men built upon. The building blocks are on a steady ground. The album itself sells out on cassette and remains on CD up until now. Two alternatives offered, one bought and sold. Even though both Zex Model and Statiqbloom are very much alike, the last-mentioned relies on heavy electro beats and a body rhythm, whilst Zex Model is utilizing the rough texture of industrial on experimental soil; to the maximum. Then we entered 2014 and brooding for Statiqbloom was yet another album which he gave the title “Black Mirrors“, released only on a limited edition cassette. This was to be a release before two kings met up and decided to build upon a platform settled by them both, and others. Diplomacy entered the game and here we are.

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Fast-forward to later October, early November this year and you’re in for a treat. It was only a matter of time until desire brought these two new-comers closer together. In regards to their sound, it was a sound choice. Zex Model and Statiqbloom engage in a split-release that features eight tracks in total and four tracks by each artist. The apt design for this release is what Fade Kainer thought out and did. From the first four “Atropy Of Three“, “Contaminate“, “Slow Void” and “Behind Glass (Second Pane)” courtesy of Statiqbloom on side one. To side two featuring “Forbidden Alterations“, “Rokk“, “Teosophia” and “Tokyo Blitz” by Zex Model. I chose the second track “Rokk“, because of the atonal message that is what makes his project what it is in the first place. From his ode to Skinny Puppy and the likes, to his experimentalism that fiddles with a classic industrial atmosphere and makes the atonality spin the wheel – a confusing sound which at first obfuscates the rhythm – but later on is quite a trip into the originality of his project. A harsher version of Nexus Kenosis might actually find a way through your mind, intentionally or not. Stream the exclusive track “Rokk” down below and see to that you buy the vinyl from desire records when it comes out, if you like what you’re hearing.

Review: Various Artists – Artificial Selections

a3207601573_10More then a week ago, a new compilation emerged out of the alternative underground. A compilation that caught people off guard because of the beautiful representation of cold-wave, post-punk and experimental selections – including a wider variation of genres. Featuring both unrepresented artists and those who are not. First off are Excuses, the solo-project by Matthew Rowe whose debut was put out on the now defunct label Function Operate, back in 2012. This self-titled release featured five songs but his contribution to the compilation was with the track “We Are Fuel“. It is a raw track which lets a dodgy atmosphere with shoegaze fill out the sound-scape, together with the ambivalent riffing you’d only find within darker post-punk. Although his vocals on this song isn’t up to par with the rest of the landscape of sound, it is held up by the general mood that he delivers with sincerity. I just wish it was coupled with a better vocal representation because right now it sounds too cheesy. But I must say that it is a good opener which sets the bar for the rest of the compilation higher up.

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Spotlight: CromwellC – 13th Dawn

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From the Russian winter we’ve gathered a darkened ambient gem, that was just released past midnight. A combination of the darkly atmosphere that can be found in dark ambient, entwined together with the strong sound of martial industrial. Combine that with eerie violins, a sense of urgency and a sense of peacefulness between the lines. Steady rhythms and bombastic drums sound a call for war, or might it be a call for a remembrance of history as such. Some of the tracks are well-thought out, whilst other seem to be out of place in some sense. Might is right with “13th Dawn” by CromwellC. Neo-classical themes can be heard on the overtones for some of the tracks, as the slowly-paced and rather harmonic classicism spread out its wings. The seriousness of slowed down samplings of a rather unknown origin is paired together throughout. This project also originates from Germany. Harkening to cheering crowds, intellectual quotes from German philosophers, men of honor – and others. The project bears resemblance to what they look up to, according to themselves; Arditi and Toroidh. Even though one couldn’t give much for some of the instruments that resound, since they sound rather digital, you should at least check out the project. It can be downloaded for free from Inhermanland Files, which is the label that it was released on. CromwellC still have a long way to go, but the project itself sounds interesting. So take heed and download it to hear for yourselves.

Exclusive Premiere: Dmitry Distant – System Control (Ekman Remix)

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The clash of two greater artists is the clash of minimal synth and dark electro. This time, there is no room for an original track, but room for a remix. Two artists that have gained control, two artists that have some thing in common, and some things that are uncommon. As the lavishly created spasmic rhythms that follow a trail emblazoned by the most minimalistic of synth you’d ever lay your hands upon, but at the same time delivering the chaotic atmosphere of electro. Yes, electro was infused in the original version of “System Control“, but it’s even more infused with Ekman‘s style of electro, which has a muddy layer of atmospheric delight – to infect your senses with. There may be similarities between the two, but they’re in no way so similar that it wouldn’t make any difference if he (Ekman) lent a hand to the production. No, he has not produced the track itself, but his analogue remixing has been a similarity to be reckoned with.

When there’s a choice, you’re surely enough berated by Beläten, whom is the master of decision in this case, too. But from the choices he gives you, you must choose wisely. Therefore, even though there’s a rough enforcement from he who’s holding the strings, you can’t help but enjoy yourself. This remix is a part of a bigger picture, of Dmitry Distant’s contribution to the world as such, through his forthcoming release on the label – namely “Le Dérivé De L’Amour“. A four-tracked EP that gives you two original tracks and two remixes. Part of the Beläten-catalog as Jera, referring to the rune Jēran symbolized as the j-rune “” of the Elder Futhark. The meaning of this rune is “season” or “harvest“, and you bet we’ve harvested the best for you, through our options.

So we’re proud to give you the remix by Ekman of the track “System Control“, created by Dmitry Distant. Prepare for the signature influences that only Ekman can deliver, which makes this track a little bit darker, but also more passive. There is something lurking in the dark, and the only way you’re going to find out is by listening to it. This is the first remix that we’re setting free for your listening pleasure, which makes this occasion all the more special to us – and to you. The Netherlands is calling, and they’re infiltrating your sound-scape as we speak. Stream this whole track and remix exclusively from Invisible Guy, until you buy the physical edition of this release, which comes in the shape of a cassette (C18). The release itself will be up for pre-order on the 31st of January.

Label: Beläten

Cat#: Jera

Artist: Dmitry Distant

Exclusive Song: System Control (Ekman Remix)

Title: Le Dérivé De L’Amour

Format: C18

January-2014

From Moscow comes Dmitry Distant with four tracks of mesmerizing analog worship electro. It’s minimal and it’s dark, but underneath the cold melancholy bubbles unbridled passion: passion for the rhythm, passion for the deep bass resonances, passion for the hooks that will continue to ring in your ears for days on end. Le Dérivé De L’Amour is nicely rounded off by two remixes of the track System Control by Beläten favourite Ekman and The Exaltics respectively.

Like all Beläten releases, this cassette comes with a complimentary download version on a dropcard.

The words of the system controller of Beläten

Mini-interview with Rougemarine!

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Marina LaCroix have created what seems to be a blend between many “waves“, as she’d like to call it. I’m not sure how to interpret these waves, but they seem to come into play when I listen to her music. Recently, she released “White Ocean“, a two-tracked release which featured her original track and a remix by Mondwest. Earlier, she’s been in different bands, utilizing her talents in different ways. There’s no doubt about it that Rougemarine is musical to the core, which can also be heard in her different releases – but especially in “White Ocean“. Coming from an electronic perspective, delving into what seems to be trip-hop, changing into a more experimental approach. Needless to say, she’s got a lot going for herself and I wanted to ask her a few questions about her project as such – and what she sees in her own music, but also what her perspective on music and life could be. So check out this mini-interview!

In 2009, you left your previous band to embark upon a solo-project under the name of “Rougemarine”. Why did you do that and how did you come up with Rougemarine?

– Before Rougemarine I was a band member of 3 bands: as a drummer, a frontwoman, and as a keyboardist. It was such different genres, but it was what I needed at that time. I worked with perfect musicians who gave me the perception to actualize myself in one project, so now I feel that it’s time for Rougemarine.

So, what makes Rougemarine any different?

– Everything and nothing. I can’t only be a songs creator, but a creator of sound. It’s seems like I’m expressing myself when I’m turning the knobs and pressing the keys, moving faders, but it just seems like that. I’m looking for a sound of what’s touching me inside. And there are not that many projects around, in all genres – which make you want to feel something and meditate.

Speaking about your sound, you’ve got a unique take on electronica as such. You define yourself as doing “experimental electronica”, which seems to fit the bill very well. When you begin searching for what touches you inside, some of it might well be shamanistic and spiritual. Where are you normally looking? Or are you simply an explorer, which take things as they come?

– True art only appears, when you begin to see yourself from inside, and whilst not trying to make something similar to everything else – or just trying to make something better than anyone. In that case guys usually say: “Hey! You’ve got something to say!” My track-work consists from 3 parts. At the beginning I must try to get rid off absolutely all the thoughts in my head, and stay face-to-face with the instruments. You can only hear yourself when you’ve gotten rid of your thoughts. So, this is the base of the sound. Afterwards, I start to structure up the track. At the end I’m putting my thoughts into the lyrics, and then to the song. So, as you can see: my tracks are not just an experimental collection of sounds. I named it ‘experimental’ because of the fact that people, who weren’t accustomed to my music, would know it – before they’d press “play”. I don’t wanna think about any stages for the time being, I just want to create music and gradually evolve. And eventually someday, you will know who I am in my ‘normal’ setting.

When did you begin to translate this into songs as Rougemarine? How do you go by when you do it?

– I began to produce music for Rougemarine when I decided to escape from any influences. Influences are a big problem for many good artists, it’s just that they fail to recognize it. So now I feel what can be called; freedom. Freedom is really what’s people need, but they consciously build up walls, in fear of actually gaining it. The result of this is total decay, or ‘death’ as I would say.

What do people that listen to your music think of it? How have the reactions been to what you do?

–  I have different moods of listeners for the same track, for example: White Ocean. Last time I looked into the eyes of random guys in the moment of listening, it was like death came for them, and at the same time another my mate sat near and danced with smile. Everything is just our perception. Also, all people have opinions about life, but sometimes these opinions are simply derived out of social falseness. I just wanna show people that they need to be closer to death, and then life will suddenly feel more joyous.

You’ve recently released your vinyl “White Ocean”. What kind of aspirations did you have when you were making it? Did you want it to be reachable for many, or just a personal record for fewer listeners?

– I want to be reachable for everyone who can find interest in it. It doesn’t matter when. Today, tomorrow – or in 20 years.

Alright, thank you for your answers. What do you want to say, as a final answer?

– I wished everyone would stop trying to be anything other than themselves. Be yourself, relax and keep your ‘wave’.

Listen to the two tracks from White Ocean, down below. You can buy the limited edition 12¨ from her bandcamp, as well.

Premiere: The Tobler Orchestra – Scry [Musicvideo]

Well, what can be said? The Tobler Orchestra ain’t working alone in this universe. Because the producer behind this particular alter-ego have been placed on a compilation with five other artists and groups. The well-known minimal synth act Xiu, AKA Oksana Rodinova – have made Minimal Trend Records her homestead for now. There is also where the magic will happen, as this compilation will be the first release on this label and spark the continuation of minimalism within the electronic genres as such, obviously channeling it from the “trend” of it. Because, quite frankly, isn’t minimal synth and wave a trend by now? Everyone seems to be up over their heads trying to conjure something magical within the boundaries, and outwardly towards others – within this niche, that has become widespread. The “Minimal Milan EP“, which is the compilation’s name, will be available for purchase on the 12th of December. The artwork is courtesy of David Imbërnon, a Spaniard with a wicked sense of proportions, and art as such. When it comes to the artists involved on this compilation, they are the following: AU+, Plovdiv, Words and Actions, MM2, and MarryMe2Night. Of course, The Tobler Orchestra are also featured, but that might’ve made sense in a paragraph above. MarryMe2Night is the alterego for Oksana Rodinova, in which she explores a darker and more steadfast realm in the minimal universe.

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Anyway, that’s not why we’re here. We’ve gotten the honor to premiere the music-video for the track “Scry“, featured on this compilation, by The Tobler Orchestra. You can watch it up above and you can stream the two tracks currently available from this compilation – down below.