Ljuslykta – [Precis som alla andra, men vi skiljer oss åt ändå] – Del I: Suffering Hour, Khem, Saturniids och Svarti Loghin

repartiseraren_logo_transparent

Vi vet att det finns människor som rekommenderar musik, vi är en del av detta mikrokosmos också, varesig vi vill eller ej. Det kan hända att folk som läser detta inte tror att vi är föränderliga – fastän vi gång på gång bevisat att vi är det – dessa individer kan sluta läsa nu. På tiden att det händer något nytt och att skutan styrs i rätt riktning igen. Ner i den smutsiga underjorden, gräv upp det som andra inte finner vid första anblick, rekommendera det till folk som faktiskt bryr sig och har ett intresse av detta.

Ljuslykta är en ny serie som bygger på samma koncept som “spotlight“. Skillnaden är att detta är mer utförligt, men det finns en hake – vi söker enbart musik inom Sverige. Vad finns det som är rekommenderbart i detta landet? Man kliar sig på huvudet och tänker att det egentligen inte finns särskilt mycket, men plötsligt blir man motbevisad. Här dyker det upp i olika delar. Det finns inte en tanke på att stöta och blöta det som redan stötts och blötts miljontals gånger via andra fanzines i bloggosfären och inom mindre smickrande medium.

Nej, vi begränsar oss visserligen, men så enfaldiga är vi inte.

sufferinghour

Suffering Hour – In Passing Ascension

Ett debut-album rikare har svenska Blood Harvest blivit – ett skivbolag vi inte ägnat en tanke åt tidigare, så det var väl på tiden. Suffering Hour har blivit en del av detta undergroundmaskineri. När man ögnar igenom skivbolagets tidigare släpp så återfinns det intressanta släpp av bland andra Sorcery, Cemetary, Magnus, Bombs Of Hades. Så man känner åtminstone till en del band, även om vissa andra är höljda i dunkelt ljus.

In Passing Ascension” heter albumet. Åtta låtar totalt. Det märks av att de har varit inspirerade av Dead Congregation, precis som bandet själva förtäljer när de fått beskriva det. Det är också just den influensen som känns starkast, även om fokuset på omvälvande och precisa riff även känns igen från Inquisition – som de även beskriver som en klar influens. Det som är solklart från start på detta släpp är hur de integrerar atmosfären i musiken, det mer elektroniska får kickstarta den vilda käftsmäll som är Suffering Hour. Egentligen är det både de individuella delarna som gör helheten och tvärtom, men hur de lyckas att få en att hålla koll på allting samtidigt som ens huvud dängs in i väggen av hårdheten i riff, trummor, skrik och bas – är proffsigt.

Egentligen hade man kunnat tycka att det bara är en malström av allt och ingenting, men det följer en röd tråd och har många föränderliga delar som får en att gilla deras musik. Alla influenser blandas i ett någorlunda rörigt men sammanhållet kaotiskt ljudlandskap. Från vår favoritlåt “For the Putridity of Man” till “Procession of Obscure Infinity” uppvisar de en makalös kunnighet i sina individuella roller, med sina instrument. Samtidigt som det mest attraktiva i black metal behålls, kastas man in i en värld av death metal – där bägge genrer hålls åtskilda för att sedan dyka in i varandra.

Förutsättningarna för detta album från start till slut har inte varit en tidig besvikelse, eller ett sent uppvaknande hos musikerna, där de försöker ställa allt till rätta, utan snarare en kreativ imploderande metalapokalyps med stadig grund att utgå ifrån rakt från början. Efter att ha lyssnat på “Hostis Humani Generis” av Dead Congregation så att den inte längre går att lyssna på, så är nästa logiska steg “In Passing Ascension“. Verkligen. De har helt klart sina olika sätt att göra musik på men det smittar av. Så för den som är trött på oinspirerande black metal och likaså death metal – är detta påbörjan av en helt ny era av bra sådan.

Ni kan lyssna till albumet i sin helhet här nedanför, vi föreslår även att ni stödjer skivbolaget och bandet genom att köpa en fysisk vinylskiva, t.ex. I skrivande stund finns det ett exemplar kvar av silvervinylen.

khemhatehammer

Khem – Hatehammer

De två mörkklädda männen i Khem har släppt en debut-EP som fått namnet “Hatehammer“, via Änglaslakt Productions, som tidigare släppt alster med Ultra Silvam – med andra ord två olika projekt vi inte har någon kännedom om alls, vilket gör detta extra intressant. Kvalitén är vad man kan förvänta sig av en demoproduktion, vilket det med all sannolikhet är. Eller så är det bara så att ljudet gör sig bra med musiken.

Från de smattrande trummorna till enkelheten i riffen, sprider sig en känsla av vanmakt och totalt hat. Inlevelsen i sången och den helt ohämmade atmosfären gör att detta släpp blir något av en resa tillbaka i tiden på många sätt, men dessa herrar är bra på att konstruera riff och lägga det på en väldigt hög nivå rätt omedelbart. Intensiteten i framförallt “Culling Life” verkar ha gjort så att “Hammers of Hate” får ikläda sig rollen som en av de snabbare låtarna, mellan början och slut på denna EP innehållandes tre låtar. Även om det inte går att uttyda exakt vad som förmedlas rent textmässigt så täcks det utav skickligheten som levereras via musiken i sin helhet.

Även om namnet på släppet kan vara oinspirerande, så är det i all sin enkelhet ett njutbart släpp från början till slut. Det har allt man behöver när man lyssnar på black metal, och lite till så klart. När man tror att det ska bli ett bombastiskt outro av det hela med låten “Splendorous Maw of Darkness“, så lägger de extra krut och stormar in genom portarna istället för att ljudsätta sin egen avfärd. En virvelvind av trumslag och gitarriff lägger sig över en omedelbart, där själva melodierna får bära upp hela skelettet på sina egna axlar. Allting vilar på det. Det är rått och utan att kompromissa med något.

Vi tycker att ni ska lyssna här nedanför.

saturniids

Saturniids – Saturniids

Om det inte redan var hemlighetsfullt nog, så sluter Saturniids cyklen med sitt självbetitlade albumsläpp. Ett mini-album bestående utav fyra stycken låtar, förmodligen är det släppt av de själva också. Här blir det annorlunda och inte särskilt mycket black eller death metal. Det blir istället sludge och doom metal för hela slanten. Tillsammans med ljudbilden i deras musik har de också lyckats få till en imponerande estetik.

Vad som känns återkommande, åtminstone om man ser till de släpp vi tidigare skrivit om i denna artikel – är hur passionerad sångaren är. Han ger verkligen allt när han släpper lös sitt inre vrede. Även om sludge och doom metal ibland kan bli lite väl segt för våran smak, så är det intressant hur Saturniids utövar en annan form inom dessa genrebarriärer. Visst, det är inte särskilt snabbt när det kommer till tempo rent generellt, men passande nog så ger tyngden och längden i dessa låtar ytterligare ett lager av imponerande musikalitet. Man känner att allting ska stanna upp när som helst, och plötsligt när nådastöten kommer i form av avstannade trummor och gitarrer – så levererar de något extremt explosivt, vilket man verkligen kan höra i “I.C.B.M.” – passande låtnamn för övrigt.

Det är rasslande, kvävande och framförallt en nydanande form rent musikaliskt som ingjuter hopp i en. Om det äldre materialet som EyeHateGod gjorde förut möter slumpmässig svensk doom eller sludgemusik, och i en fusion blir något mer allsmäktigt – något eget. Det som är bra med dessa genrer är ju att det finns ett mycket större utrymme rent musikaliskt, så man behöver inte känna allt för mycket vemod när “Into Oblivion” kraschar ut i ingenstans. Förhoppningsvis finns det något skivbolag som öppnar ögonen och tar detta för vad det är – guld. Ja, det är faktiskt nästan så pass bra att man skulle kunna säga att det är något liknande.

Ni kan lyssna till albumet här nedanför.

svartiloghinmorkenergi

Svarti Loghin – Mörk Energi

Solstice Rex, som för övrigt enbart släppt Svarti Loghin-material, har detta år förverkligat albumet “Mörk Energi“. Egentligen visste vi inte om vi skulle ta med detta, men eftersom att det är ett så pass intressant släpp på så många olika sätt, så valde vi att ha med dem ändå. Vi har tidigare sett, men inte lyssnat på Svarti Loghin, utan det har bara varit något man sett i förbifarten. Estetiken känns inte särskilt lockande, men när man väl tryckt på “spela” så märker man fort att det finns något att hämta.

Introduktionen, låten “Stjärnätare Dväljs Under Torv Och Moss“, levererar både socialrealism i sin mörkare form – uppgivenheten – och den bländande akustiska mystiken rent musikaliskt, tillsammans med renodlad svartmetall. Det svänger inte fort, men det kan ändras rent atmosfäriskt på tio, tjugo sekunder. Från ett magnifikt akustiskt stycke till blastbeats och avgrundsvrål, det är verkligen någonting som gör Svarti Loghin egensinniga. Inte för att ingen gjort det förut, men hur de manipulerar atmosfären i låtarna samtidigt som de lägger in de klassiska komponenterna inom genrerna de vandrar emellan – är verkligen massivt.

Bland låtarna återfinns också ett par underbara stycken ambientlåtar, som till exempel “Katzengold“. Det är intressant hur det kan skifta så extremt mycket på bara ett par låtar, för att sedan gå tillbaka till det brutala snittet av svartmetall. Favoritlåten är “Vakuum III“, där det på sju minuter genomgående levereras musik av högsta kvalité, med genomtänkta riff och där utrymme även ges för de mer utsvävande delarna av detta projekt. Under masken av misär gömmer det sig en guldgruva av vackerhet som man bara kan höra om man lyssnar extra noga, i vissa delar så gömmer det sig bakom hårdheten och grymheten, men det finns där någonstans.

Dualiteten i musiken är medryckande. Det står mellan allt och inget, det finns inga mellanting. Vi tycker att ni borde se till att köpa en vinyl, eller åtminstone en kassett av detta album. Det är värt det i slutändan. Ni kan lyssna till albumet i sin helhet här nedanför.

 

Spotlight: Kazeria, A.D. Mana, Strucktura, TRAITRS

repartiseraren_logo_transparent

In this spotlight we’ve chosen four artists/groups that are different – yet alike in many ways. There will be a lot of darkwave, coldwave and industrial music in this spotlight. Mostly because those are the genres where we find ourselves at home, because there’s immense talent to be found there. We start off with noisy industrial music and end with gloomy post-punk extravaganza.

nhm

Kazeria was unknown to me when I found his music via Gradual Hate Records. It was his latest release, “Nihilist Militant“, that caught my eye. The aesthetics were impressive when it comes to the artwork for this release, but more was to be discovered when pressing play. He’s created very intimate and atmospheric industrial music, coupled with dark ambient overtones. Keep in mind that these songs are totally unedited versions, created between 2003 and 2007 – which is a representation of how it sounded back then.

There’s a great assertiveness in his music, it almost borders to the bombasticism of martial industrial. As stated by the label, this is a “very personal” release, which really shows in the emotions he conveys with his music. It is both harsh and atmospheric, with destructiveness at its core. One is very impressed by the percussive rhythms he produces, which can be heard the clearest in “Evrazia Regnat” – a very disciplined and ambitious track in regards to melodies as well. Even the very short ballad-like song “Irminsul” has a certain grace.

This release is a great way to get into his music and if you pre-order the last copy in the special package – you get a gas mask as well. Can’t get more industrial then that. Listen to the release down below, buy it if it is of interest to you.

admana

A.D. Mana is a relatively new artist from Berlin. The re-release of his first and only, self-titled EP, on cassette – had me at the first song “Take Hold” – a stern coldwave rendition that catches multiple influences, like synth-pop and darkwave, molding it into a sinister blend together with his voice. The synthesizer stabs are clear but at the same time dark and brooding, a strange combination which at first doesn’t seem to work but as the song progresses it is obvious that it does. “Down The Wire“, another song on the release, almost funnels the post-punk vibes into some odd kind of grungy synth-pop-‘n’-roll.

My favorite song on the release, except the first one, is “Honour“. It adds gracefulness to the messy environment of the songs in general. Even though you’re caught slightly off-guard by his voice – not in a good way – it fits in place after a few moments into the song. There are some great rhythms as well, aptly executed. The melodies are unorthodox, which makes me like it even more. You expect more of the same but get tricked into the wondrous atmospheres, the groovy electronic beats – and the charming ballad-like ending within “Soulware“. A perfect instrumental track and appropriate farewell. You should really check it out, and buy the cassette from sentimental, if it suits you.

statuesfall

I’ve actually heard about this artist, Strucktura, whilst browsing through the bandcamp-feed. But I never paid much attention to the music. There’s some really solid darkwave-inspired music in his “Statues Also Die” release on Oráculo Records. While the synthesizers and beats are on point in the release, there’s some really cheesy lyrics. In a weird way they go along well with the music, so I will leave that alone. The music seems awfully cheerful but at the same time moody and distraught – which is something that adds character to the songs. Especially in “Val D’Aran“. 

There’s a nice futuristic vibe about each song and it comes out differently, even though most of the rhythm and melodies are alike. As dreary as the atmospheres may be at times – they come out as dreamy – and are filled with nicely laden synthesizer sweeps, alongside well constructed rhythms and melodies. It is a release you should check out, if it is something for you – buy the limited edition vinyl via Oráculo Records.

traitrs

Torontian band TRAITRS have created some of the most soothing, coherent post-punk music I’ve heard in a while. The oomph of the baseline resounds throughout in the first song “Witch Trials“. It is really weird how each and every song on the release is anthemic on its own – it is mostly reserved to one or a few songs – but this is catchy, ambitious and on fire from the matchsticks up until the light goes ablaze. It is especially noticeable in “Lya“, one of the more minimalistic songs. The singer gets a certain kind of emotional streak in the chorus which makes you want to sing along to the lyrics.

Not to mention how massive “Gallows” is. Here they’ve really gotten through with the originality of their sound. They both have an edge in the music and somewhere to stand firm – nothing is left to chance, everything is constructed meticulously. When one gets as far as their last song “Heretic“, the percussionism is simply mindblowing. Of all the releases recommended in this spotlight, this is the one I will have to choose myself as the best one. You can get it from the Warsawian label Alchera Visions, buy it here and stream it down below.

 

Exclusive Premiere: Ausramp – Third Dimension Diploma

offramLogo300

Bringing back the oldstyle seems to be in fashion nowadays. Everything from retrofuturism to old formats like VHS – are embedded into an artists embroidery. Not to mention how the decadence of the 1980’s seems to have hit a peak, there’s also people whom are playing around with techno. You probably know the sound of the 808’s, the old-school vibes that were originally gathered from Detroit, Michigan. When that was the place to be – it still can be. There’s a man whose work you might recognize when you hear ‘Members Of The House’, the more obscure ‘Unit 2’ – or simply his full name Nicholas Bernard Marks — shortened to “Niko Marks”. He’s teamed up with Robert Des Iles, a rather passionate southern European man whose slick grooves are enhanced by the presence of Mr. Niko. Well, it’s not really that mysterious, but I would like to keep it a secret. Robert Des Iles is really a pseudonym but I will not reveal who he might be.

The thing is, Niko and Robert are now a duo called Ausramp. Yes, it sounds fascinatingly German but at the same time they keep the Americana in it by including “ramp“. Precisely the name a techno-project that goes back to its roots and includes a swing of electrofunk, should have. Their debut-release which features three songs is due to be released in two weeks and I’ve gotten my hands on one of the songs from this release. It’s a self-titled release and the track is called “Third Dimension Diploma“. They bring out the best when they return to the oldstyle of techno, adding certain aspects that might not traditionally have been it. But there’s a lot of legs swinging to the left and the right when listening to it, the rhythm is simple but the groove is out of hand. When the melodies strike in, there’s not much to do but to dance to the beat – classic stylee. No, I’m not that clichéd so you’ll have to choose what to do, but I promise that it’s a catchy track. Stream it exclusively on Repartiseraren, down below. It will be released on Kraftjerkz as their eighteenth release, in two weeks.

Listen: Morthouse – Morthouse

a1456909509_10

Oh how Montreal fosters our youth. With music not only from there, but also from the stronghold Toronto – which have given us much prosperous acts – that in turn don’t have to look far and wide to find accomplices. From this city comes a duo whom share the same surname, which makes you wonder if they’re indeed brothers. Thomas L’Allier and Philippe L’Allier are the main characters behind this trio, which gets their drumming lent by Samuel Gemme. He’s the one whom gives them their nice rhythm, although the riffing and the general mood of their tracks suggest a wider conspiracy – where everything needs to be fitted right to create their rather unique sound. Not that anyone else haven’t done it before, but I like the nicely done rhythms that coincide with their wonderfully spooky and melancholic theme that seems to be a re-occuring concept.

Almost a month ago or less, they released their first album which is the self-titled “Morthouse“-release. It’s among the better crossovers between mainly post-punk, alternative rock and goth rock that I’ve heard. Thrown in is the urgent vibe that no-wave creates with its messy undertones that are concocted well together with melodies – which makes this influence far too melodic to have the amelodic overtone that only no-wave can contribute with. Not to mention how they use different instruments in perfect harmony, bringing a dark cabaret touch to their otherwise completely magnificent self-image. Now they’ve also got the cockiness that is needed to really bring forth the funkiness and jazzyness that can be heard between the lines dropped by the brothers. I’m feeling like I’ve been invited to a cabaret and that I can see them behind the scenes. The music is unraveled and I’m instantly intriguied by it as they casually bring forth their more instigated selves. A must-listen for everyone of you at home longing for a proper crossover release and not a kitsch re-interpretation. Listen to the whole album down below.

Listen: Marignan 1515 – S/T

a4261176960_10

Never have I heard or seen a band form such picturesque landscapes of sound, with the help of a battle-scarred theme so detached from the music itself. Though it seems to be like that, Marignan 1515 use their illusive droning to mock up every little detail, making the suggestiveness even greater. From what I can find out about “Marignan”, it seems like their name is taken from the “Battle of Marignano“, where France and the Old Swiss Confederacy duked it out in the year of 1515. It was a part of the Italian Wars that spanned from 1494 to 1559, which was a series of battles during the Renaissance that were also aptly called the Habsburg-Valois Wars. There were different belligerents fighting against each other throughout those years, bu the Battle of Marignano was won by Francis the 1st and resulted in the “Eternal Peace” the year after, where they sought to resolve future battles with diplomacy and judicial resolutions – instead of on the ground, against each other – on a battlefield.

0003213618_130

I think this first self-titled release by Marignan 1515 symbolizes both the struggle of the battle itself, but also the calmness and suggestiveness of peace-times. Will there be another war or will it be solved through other measurements? There are a lot of questions that pop up in one’s head when you listen through both sides of this release. Both tracks are almost twenty minutes long, the shortest at 17:48 in running time. Even though I like their sound, the aesthetics of it all and the historic connotations make listening to them even more enjoyable. To mixture with shoegaze, ambient and drone is perfect for this setting. I am amazed at how their sound is so calm in regards to what they portray, but I am also fighting the urge to want it to be anything else. This is music to be listened to when you need to have some time for yourself and reflect, because their outdrawn melodies and basic structure of the songs develop slowly for your listening experience. Take your time, listen to everything down below. These Frenchmen know what they’re up to.

Chondritic Spotlight: Klinikal Skum and Fejhed! [Part II]

artworks-000079104721-wha9jt-t500x500

These are the earlier releases from Chondritic Sound. Since these releases, including Sissy Spacek and Jason Lescalleet’s VHS-release, there’s a lot more coming. But since I haven’t written about Klinikal Skum and Fejhed, I am about to do that right now. What’s interesting about these two releases and specifically one of them – is that both of them are dribbling in experimental territory – whilst one is wrought upon the grounds that Puce Mary stands on, with a part of Hoax (the crusty and dark punk band). You’re right, Frederikke Hoffmaier of Puce Mary fame have teamed up with Jesse Sanes of Hoax. They’re creating a regurgitated landscape of sound which can be found within the confinements of “Persona” – the latest release on the Danish label Posh Isolation, by Frederikke. But what is equally as interesting is how these confinements are diluted with this duo. There isn’t really any borders for how horrid and claustrophobic a noise-act can be. When it comes to Klinikal Skum, his sound-scapes are long and dampen from the suggestiveness of his exploration into the human psyche. From the delusional nature of humanity and what kind of psychosis lay hidden beneath the shallow appearance of so-called “sane” human beings. These are the two bands that I will delve into in this edition of the Chondritic Spotlight, which might actually be the last one.

a2223434684_10

Ryan Oppermann. Klinikal Skum. Two different names that coincide with one another, one his real name and the other his pseudonym or alter-ego (if you prefer). Released his first album in 2005 on the label Ghost King, then aptly titled “Pulsating” – a word that can be pinned to his music now as well. Besides having started this project back then, he’s indulged into aliases as: Fabbrico Incubo, Neuntöter Der Plage, Post-Mortem Junkie, Redrot, Xombie and groups by the name of; All Bells Grounded, Aram Chaos, Black Lace Drag, Narcoleptic Ward, Rust Owl, S.P., Some Larval Dream About Smothering, Unveiling Asylums and maybe even more that I am not aware of. The similarity between these groups are his fascination of genres like power electronics, noise, industrial, ambient and whatnot. Add experimental in front of these labels and you might pinpoint where he’s been heading to. Besides that, he’s also kept busy with his own label Skeletone which have almost only released material with his different aliases as authors of it.

Now I’m here to describe his latest release under the name of Klinikal Skum. This particular release; “Negativ Psykotelepathi Surveillanz” was put out by Chondritic Sound back in May of this year and is actually some of the more disturbing blend of experimental industrial and power electronics that I have heard. It is sickening and almost unbearable to listen to and feels clinical in the way you wouldn’t want it to be. I feel like I’m visiting a morgue as a dead body and experiencing the wide-range of tools that Ryan Oppermann is going to use to dissect me. That is one of the more insane thoughts that have entered into my mind after listening through this album. What is more horrid than being exposed to this ecstatic wasteland of normal human dignity is to hear the complexity of the music he delivers – as it is actually well-thought out and that is probably the most scary part about it.  It could serve as a blueprint for how you’re supposed to enter a state of mind which we rarely, if ever, encounter in the real world. This is the kind of music that bring it upon us. I can actually offer a free download of the track “Dizeaze Blotter“, which is the track I find to be the best on this album.

a2809871305_10

Frederikke Hoffmeier + Jesse Sanes = Fejhed. In Danish, the word “fejhed” translates into “cowardice” in English. It actually translates well into the name of some of the titles, like “Sorry“, “Silence” and “Drinking Spit“, for example. But when it comes to what they conjure together, it feels like might is right and that you’re stuck in a situation with someone whose might is above what you can say or do, a situation which you try to pathetically cower out of. Everything from the freaky atmosphere that lumbers on whereas Jesse and Frederikke take turns to shower you in pure filth. Feel your own disintegration as you fade away from this horrid reality that you have been forced into. This album of theirs is self-titled and is actually the first release under this duo’s name. I’m more than eager to just turn it off before it gives me a headache or any thoughts in my head that shouldn’t really be there. When it comes to the genres they mix in together it could be some kind of minimal wave nonsense blended into the harshness of “normal” noise, but it also feels experimental in the fact that they utilize the unorthodoxy of beats, rhythms and the general sense of an atmosphere, as you travel through a horror-show. I’m not sure if I could describe it any other than just that so you will have to check it out for yourself. All I can bring to the table is a free download of the track “Sorry“, which is the one I felt had the best overall feeling to it and that I really like. You can stream it down below, and this is the end of the spotlight.

Exclusive Premiere: aska – Draumar Rætast Ekki

Gratonar trérista 1

Taking heed from the dreamworld, sprouting musical enjoyment through minimalistic synth-pop with cold wave overtones. The Icelandic solo-project aska, courtesy of Kristófer Páll Viðarsson, gives you a rather bleak picture. Having released his split two months ago with Kælan Mikla, put out his own album in 2013 titled “grátónar” – he’s currently in the process of releasing his second album. I do not know the title yet, but it might be self-titled, featuring a range of tracks he had released in his album from 2013 but also a lot of new ones, but in a new outfit. An album that might get released by himself or by a proper label. His electronica takes the best out of the world of cold-wave but keeps the minimalism intact with his minimal synth. A lot of the most desperate vibes surrounding cold-wave are here morphed into the frosty picturesque landscape that you’d expect Iceland to be in winter, together with repetitive motions of his drum-machine in concoction with rather stark percussion, together with stripped melodies dancing around in an atmosphere of total barrenness. Repartiseraren got the honor to exclusively premiere the track “Draumar Rætast Ekki” taken from his forthcoming self-titled album. You can listen to it down below.

Harvesting #14: Transistor Sphere / DRAMA! / Eoster

Without further ado, Harvesting returns with a smattering noise. It’s been about a year since you last saw something in regards to this. This time covering releases from artists that have self-released their albums, to artists whom are already on a label. Everything from Transistor Sphere, an angst-pop artist crossing into cold wave territory, to DRAMA! a Hungarian avant-garde minimal electronics outfit being released on KHK Tapes. To Eostre, whose debut-album will soon be put out in full by the label Soft Corridor Records. Three enigmatic artists with their own perks. Three artists that are going to be covered here in Harvesting number 14. The fourteenth edition of Harvesting, to date. Scroll down and read it all.

a1517745545_10With a total of fifteen songs, the artist Transistor Sphere moves and shape-shifts into whatever that pleases him for the moment. Electronica is moving swiftly from a rather calm intro, to an angst-pop assault. Clashing beats, hypnotic atmospheres and cherished dark rhythms make this moment such a bliss. A moment that can be endured, a moment that is packaged in between fifty minutes and a little bit more. Lurking transmitters wire you to this experience, that moves somewhere in between the minimalism of minimal electronics, to the fast-paced rhythms you’d otherwise hear in a breakbeat or drum’n’bass track. The album itself has a titled that describes the feeling you get when listening to it: “Disintegrated“.

Here’s where everything dissolves and at the same time it’s a trip into the utmost space of the soundscapes. It can change for a minute, a few seconds – or a little bit more – from the most beastly fast-paced running electronica – to the utmost minimalistic heresy. The melodious content of this album is not something you should underestimate. His eloquent touch with sincere electronics overshadow the whole darkness that is repetitive in the atmosphere of the tracks. It feels organic and it doesn’t feel soulless at all. Low-key beats bounce upon the samplings, the noises that can be heard are briefly swooshed away in favor for something else. Clearly a multifaceted release that goes in between ominous music, deliberate angst-pop with baselines as deep as the blue sea, to the cold wave and in touch with the emotional content at hand – to a degree that is probably not heard when listening to other artists. It’s also clear that he’s influenced by Friedrich Nietszche‘s philosophy to a degree, in regards to the quote on his page: “The future influences the present just as much as the past“. A mysterious artisan at his craft, an interesting antagonist at our hands. Listen to Transistor Sphere‘s album “Disintegrated” below.

khk03_The cacophony doesn’t stop here, as DRAMA! steps up to the plate and run amok. This is a Hungarian artist whose participation in music ranges back to a compilation this artist was featured on, which was “Central Heating” – a compilation crafted by the same label he’s on – namely KHK Tapes. It was released back in 2012 and even though this release, which is his first self-titled, was released in 2013 – we thought of featuring it anyway. He’s got a rather out-of-the-ordinary industrialized landscape of sound which is carefully crafted together between the boundaries of industrial and tape music in the first hand, and minimal electronics as the underlying motor that is pulling this workhorse forward. Forwarding public domain information from the United States in the shape of sound, mixed together with a regular rhythm make a rhythm out of the samplings that he’s borrowed from these domains. This results in a pretty weird but rather analogue experience that will drive you insane sooner or later. A lot of the tracks don’t even make it over three minutes, which makes them a lot shorter then what is expected. The release is compromised of thirteen tracks and the further in you go, the stranger it gets. Noise gets on top of the chain, whilst an almost power electronics sound is dominating throughout – resonating with the scrappy sound of the electronics. Once you go in there, you’ll come out with bad German soap operas that have been used for sampling purposes, but also dubbed things that you can’t really find the source for – unless you’re interested in that stuff. The whole ordeal you’ll have to endure when listening through it feels like a re-cycling of sound. All the primitiveness that can be heard is overlapped with interesting build-ups, heavy and noise synthesized sounds, charred beats that would make you suffer if you had to listen to it even longer. The format is well-thought out, since you can only endure it long enough until the repetitiveness kills you on its own. But mind you, it’s not boring to listen to, at least. You can listen to the whole self-titled release down below, from KHK Tapes bandcamp.

a2596681461_10Glad you’ve read this far. Lastly, we’ve got an experience for you that you’ll probably find rather enjoyable. Eostre is a solo-project that combines the ingeniousness of minimal electronics with the rather rugged sound of ambient and experimental electronics. A formula that the man behind the solo-project, the Belgian man Sébastien Schmit (K-Branding/Service Special) have made his own. Harnessing the monotone vocals that he puts out on the smooth surface of the tracks. A rather interesting paradox between the smoothness of the ambient in the tracks with the rather rugged beats that hit you hard in your neck. This is his debut-album under this moniker and it’s titled “They Were Made Of White Cloth“. Put out by the label Soft Corridor Records. What’s interesting with the two tracks made available on this release is how they change from being a rugged trip into the unknown, hitching a smooth ride – but ending with bubbling electronica and then simply fading out.

Just to change to rather ethnic beats with the other track made available, a kind of middle eastern and/or oriental touch with a sullen synthesizer that almost reminds you of that calm, but oriented emotional saxophone sound that gets played rather frequently in films from the 1980’s. Especially if these films are Action-films. It is clearly noticeable that the different instruments form an intricate rhythm together, that is being based upon underlying rhythms that soar through the dampened landscape of sound. Well, tough luck, because Sébastien is a drummer when push comes to shove. This is also noticeable in how he form the different patterns for the rhythms. Everything goes dancing throughout the soundscapes of these two tracks. Not much more can be uttered about this release, since all tracks have not been made available. It’s a joint release between Soft Corridor Records and Alt. Vinyl, and is going to be put out on the 20th of April. The cover illustration was created by Jess Pauwels, and the photography was taken (and designed) by Julien Lambrechts. Listen to and stream this release down below, from Soft Corridor Records bandcamp.

Lyssna: Mörketid – Mörketid

a3725899501_10

Som vanligt så damp det ner ett mail som intresserade mig lite mer än de jag sållar bort. En medlem i ett band som är baserat i nordvästra Skåne, närmre bestämt Båstad, skickade detta mail. Mörketid är namnet på bandet och det består utav fyra musketörer, vars huvudinfluenser ligger mittemellan Kent och Motörhead. Med andra ord, en rätt så bisarr blandning. Utöver detta så lirar de någon märklig blandning utav post-rock, melodisk rock, blues rock och lite till. Men det är just denna blandning som gör dem aningens mer intressanta, eftersom att det känns väldigt annorlunda. Inte annorlunda på ett dåligt sätt, utan annorlunda på ett bra sätt. Den 13:e Februari så släppte de sin första demo, som inkluderar en hel radda med låtar, vilket är rätt ovanligt när det kommer till demos. Denna sällsamma blandning har visat sig vara väldigt lyckosam, eftersom att deras sound drar med en när det kommer till rytmen, till atmosfären men även till själva energin som ligger och darrar i luften. De melankoliska gitarriffen river genom ljudlandskapet på ett mycket makabert, men ack så känslosamt, sätt.

Därför så bestämde jag mig för att höra deras vädjan, och kommer därför att lägga upp deras självbetitlade demo så att ni får lyssna till den. Låtarna som finns på denna demo är, i följande ordning: “Du Skriver På Samma Sätt I Mina Drömmar“, “Iris Av Kastanj“, “The Hospital Opposite“, “Svartvit“, “Månen Part I“, “Månen Part II“, “Alaska” och “Mörketid Blues / Se Mig“. Så lyssna till denna ljuvliga blandning av allt som ni håller kärt, ni post-rockare, bluesentusiaster och de av er som fortfarande håller lågan klar för den melodiska rocken. För detta är nog något som intresserar er, men även de som inte egentligen är särskilt intresserade av dessa genrer till att börja med. Det enda undantaget är väl själva vokalisten, men det är lätt hänt då de endast är i demostadiet just nu. Allt annat sitter på sin plats. Lyssna här nedanför och köp deras CDr om ni skulle tycka om det så mycket, så att ni känner att det är värt att stödja.