Exclusive: Repartiseraren announces; Celldöd added to Kalabalik på Tyrolen 2018 line-up!


We’re glad to be collaborating with Kalabalik på Tyrolen before the festival starts this year, and announce that Celldöd will be performing live on this year’s edition of Kalabalik på Tyrolen 2018 – which takes place in the idyllic setting of Tyrolen between the 24th and 25th of August this year – in a classic ‘folk park’ with a charming 1960’s aesthetic – as it have been for as long as it has been arranged.


Celldöd is the newest project of Anders Karlsson (Severe Illusion, The Pain Machinery, Vargdöd, et cetera), and he’s come a long way musically since having one of his tracks released on the first Ljudkalendern compilation on Repartiseraren back in 2015, and the second one in 2016. With releases on his own label Brutal Disciplin, Smashing Tapes Records, Femur, Medical Records LLC, and the latest one being “KESS07” on Kess Kill.


Ranging all the way from ambitious electronic body music, to acid techno in a new outfit mixed in with primitive minimal electronics, oozing of industrial vibes in a post-industrial world – a perfect match for total misanthropy and a knuckle in the skull of the unknowing. His live-performances have been praised for his total control over the ‘meager’ instruments he’s brought with him, being able to execute a perfect showmanship despite his instruments malfunctioning – using it to his advantage, to create a whirlwind of soaring destruction.

He’s performed on Kalabalik på Tyrolen a couple of years ago already, but this one will be on a whole other level, we anticipate at least. It is a must-see performance which you’ll be able to enjoy if you snatch a few tickets, invite your friends and whomever you like or dislike to this festival – it is a once-in-a-lifetime experience that we at Repartiseraren want to see next year as well – but it all depends on your support.

You can buy either an early bird ticket or an early bird support ticket – to show your appreciation for Sweden’s undoubtedly best alternative music festival. Here’s a link to where you purchase your ticket. Stream the latest release by Celldöd down below, and purchase the vinyl-release from Kess Kill if you like what you hear.

My visit to Kalabalik på Tyrolen 2017


Kalabalik på Tyrolen is a festival arranged by Klubb Kalabalik annually at Tyrolen – a picturesque site located at Blädinge not far away from Alvesta, in Småland, Sweden. The arrangement has a history that dates back to 2011 and live-acts such as The Horrorist, Kite, Schwefelgelb, Dernière Volonté, Absolute Body Control, Martial Canterel, and Portion Control – to mention a selection of the diverse multitude of electronic and non-electronic acts alike – that have played there. 

The club itself, Klubb Kalabalik, have hosted a multitude of club nights in Växjö since 2005. Christoffer Gunnarsson and his crew seem to have placed themselves high above many festivals, which made one eager to visit and see what it was like. This year included acts such as Diesel Dudes, Sturm Café, Die Selektion and Kaelan Mikla – in what I personally wanted to see live the most, plus acts that I had never heard about or knew somewhat of – but wanted to give a chance.

Here’s my personal account of what went down musically and socially at Kalabalik på Tyrolen 2017.

After waiting half of the day until the train was going to depart from Malmö to Alvesta, I indulged in the playlist that Klubb Kalabalik had set up on Spotify. Upon hearing some of the acts that were going to play there, I didn’t really muster up any excitement for my trip. As the time to depart came even closer, one became increasingly nervous as to what to expect from this festival. Going from the scenic beauty of the Scanian landscape to the darkness of the dense forests in Småland was a change of scenery one hadn’t felt in some time. Everything went as it should on the trip and the train was cozier then anticipated.

Upon arrival in Alvesta, it sure was very different from Malmö. A tiny society in comparison. But it felt like a breeze in comparison and somewhat of a vacation from the ‘big city’. Since there’s not an ounce in me that wanted to pitch up a tent in the now rainy Småland, a hotel felt better suited for me as a form of relaxation and a better place to live, quite frankly. After having checked in, settled in, and the time closing in for the first act that I wanted to see on Tyrolen, I called a cab and went down to await it. It took some time before it arrived, but I was greeted by fellow people going to the festival themselves.

I thought it was going to be a further ride into the forests then it actually was, about ten minutes away from Alvesta itself. Quickly the ride became more of a social event then I would’ve thought it had been and the people I shared a cab with were really nice to talk to. A dimension of traveling to this festival that I hadn’t accounted for when I was on my way there, was meeting with all the people I know through my zine and label. Upon arriving to Tyrolen, it wasn’t the picturesque kind of place I had thought it would be – but as we got out of the cab, getting closer to the entrance, I was proven wrong.


Tyrolen at night

A very picturesque and stylish sign, in bright red and yellow stated the following: “Tyrolen“. As one walked through the entrance, the bright lights that formed a column straight forward also gave off a nice aesthetically pleasing vibe, which was especially true the darker it got throughout the day, as the evening was closing in. Before the first act was going to play, that I was personally excited to hear live, my newfound friend and I became more acquainted and discussed the schedule and what to see. We were both, apparently, going to see Kaelan Mikla.


Kaelan Mikla live, 19:00 on Friday the 25th of August

To be honest, I had been shunning Kaelan Mikla and their music for some time. First time I heard them, they were really exciting – but it got tiresome at one point to listen. As we moved down to hear them play, it really was a seance-like appearance they quickly laid down. It was enthralling to hear every song they played and it was very different to hear them play live then it is listening to their records. One part of me couldn’t stop moving to the beat of the music and the further into the live-set we got, the more I danced.

What appeased me the most was the bassist and her style of playing, it really added to the theatrical vibe that Kaelan Mikla managed to pull off convincingly. There was something about her rocking back and forth which made one be able to completely enjoy dancing and at the same time viewing their prowess on stage. When the final song was to be played, frankincense was lit and the mood became even darker, a perfect end to a great show.

The core of their music became more appealing as they channeled their ritualistic nature completely and let it self-destruct. It was almost as a religious experience dancing to it, especially after they had plowed through a few songs. Certainly a great start to an increasingly exciting festival to be at, which had frankly just started.


Lode Runner live at 20:20 on Friday the 25th of August

Next up was Lode Runner – a band I had never heard of, apparently they were from Russia. Having had a discussion as what to see next, I parted from my newly found friend as I went over to see what all the fuzz was about, as a bigger crowd of people were gathering outside the next, smaller stage called “Joddelero” – “Rotundan” was the bigger stage, where Kaelan Mikla performed. Here is where I began to seriously dance my ass off. Even though many of the songs had the same rhythmical component with different variations, the music was beyond great to listen to.

The energetic nature of the post-punk that Lode Runner bestowed upon us made for some very unorthodox moves on my part. Even though the experience was not close to the religiousness of the dance that went down to Kaelan Mikla, there was some shoegazing happening and a foot forward, two steps back kind of minimalist dancing. People were getting more and more excited as to what lay ahead of them and it was a noticeable shift from the more gloomy, not as enthusiastic dancing going on earlier.

After having heard them perform, it was clear that nothing could beat them live – having listened to their music afterwards in comparison. They can truly be considered to be more of a live-act then a studio act, for the moment at least. As people got increasingly drunker they let loose a bit more and it seemed like people were excited for Die Selektion. Before all of this I had also met some of the people that I met in Malmö a year ago, one of them actually performing with Forces later that night.


Die Selektion live at 21:20 on Friday the 25th of August

Die Selektion. What can I really say? I enjoyed their latest album “Deine Stimme Ist Der Ursprung Jeglicher Gewalt” which was a refreshing insight into what they’re capable of, so of course I had to watch them play live. Enthusiastically at first, I stood in front as they began to play and song after song poured out. Here, somewhere, I hit a metaphysical state of questioning my experience at Kalabalik, induced by the mesmerizing nature of trumpet-playing and energetic maneuvering by Luca (the singer). It became some kind of existential angst, a blurred line between just existing and philosophizing – which made me go further back and sit on the bench through the rest of the show.

Really a clash of two perspectives – being active and dancing to their music – and sitting back, enjoying how other people seemed to be into it in full, at the same time analyzing the bands move from subliminal presence to a full-on assault musically and owning the stage. As the show went on it became more and more interesting to watch and listening to, from a “shy” beginning to an outburst of emotions only available to those present.

It really felt as one was blessed by their presence and the curse of the existential angst slowly but surely faded away. As they said their goodbyes and the stage was going from full to empty once again, the excitement grew for seeing Diesel Dudes live for the first time. As quickly as they set up, as quickly the show started. It was time to get involved for real. Cue a blurry picture and enter a complete war-zone.


Here’s where the creative ambition to be a photograph faded.

In come two burly dudes. The epitome of Diesel Dudes. After laying my jacket and hoodie on the floor, I quickly were to be involved in frantic dancing with the lead singer of Lode Runner in close proximity around me. What began as frantic dancing as the most, slowly became an outdoor gym where testosterone was administered by Douglas Du Fresne (the singer) together with his pal in a quite bizarre fashion, musically. After the first song or so, the dancefloor grew to be a wild mosh-pit that included virtually everyone in a big half-circle, to the joy of more passive onlookers.

When people were beginning to flail their arms violently and totally flip out, everyone was in some sort of ecstatic camaraderie and everyone who took a tumble was quickly helped up to continue the electronic body music-infused madness that had slowly brewed into a complete storm. Douglas even influenced me to do a few push-ups. There was a certain shift in attitude the further everything went on and it was evident that people got more excited and involved as the songs were quickly thrown out there until there was none left – but then people shouted they wanted more – and were given some.

Diesel Dudes have a uniqueness about them which I’ve never felt on a show for a long time, maybe even seven years. Their brand of electronic body music takes on the anarchic side of electro-punk and the attitude they bear with them resounds throughout the audience enough to make everything you do intense. For those of you who missed out on this show, it was really one of the two highlights of the festival. A once in a lifetime experience – to be honest.

Unfortunately for the other musicians, here’s where I was fatigued enough to just sit back and enjoy everything else from a distant. Here’s where the social theme of the festival became more evident, as I met more and more people I hadn’t met before. From hearing Whispering Sons from a distance, to wondering what could be made out of Easter to completely abandoning everything to socializing backstage with people. Even though the social aspect of this festival can be exaggerated, as people tended to move within their social circles and little cliques, there were a certain friendliness backstage among the artists that had performed and us others.

Now the time had arrived to move to Forces, but unfortunately not much of it was experienced due to hanging out backstage and venturing further away from the festival, nearer the DJ-tent. But it was perfectly enjoyable to hear them play from a distance, it invoked a certain kind of feeling which enhanced the social sphere and made the conversations more appealing in the end. Unfortunately for the DJ’s the electricity came and went like it wanted, which was a shame. There were some really good jams coming out of there, as I spent my remainder of the time going from a caravan to a backstage-caravan.

For someone like me to last through the whole night is a unique thing. My last experience of a festival being Peace & Love in 2011 which was nothing in comparison to what this had become. One thing can be said about the social atmosphere of the festival and it was meeting people you’ve either made releases with, written about or simply learned to know otherwise in connection with Repartiseraren. The appreciation and knowledge of what I do was astounding, even coming from people I haven’t chatted that much with.

After almost falling asleep and not being able to catch a cab until two hours later, in the middle of the night, almost the next morning – was a frustration. Coming home from that, with the experiences that I was given on the first day of Kalabalik, was a lot to process and reintegrate into the mind the other day. So many good and positive things on the same day, giving in less and less to the more anxious side of things.


Saturday the 26th of August

Sleeping from early in the morning the next day, up until it was time to venture out to Tyrolen once again, it became even more attracting as it was my opportunity to say hello to more people I didn’t have time to greet the first day. I decided to come there a bit later since I really wanted to start off the evening by seeing Sturm Café live for the first time ever. This was one of those moments I had been waiting for and one of the main attractions for my visit to Kalabalik.

My newly found friend from the first day was munching on a pizza and followed me to the bigger stage were we sat down to look at Sturm Café. Just about ten to twenty minutes before that I had greeted Gustav (the singer) of the band and hoped to hear what they could produce as a live-act – which didn’t concern me since they are veterans themselves, and have played many shows before. Before they went on-stage the inversion of Diesel Dudes were playing on the other stage, and they had some really catchy tunes, as Morning Hands. It was from a distance, like experience the total opposite of what Diesel Dudes had been about on Friday.


Sturm Café live at 20:00 on Saturday the 26th of August

Queue the anticipation as Sturm Café went on and everyone from the festival seemed to be gathering at the same spot – literally most of the people were present at this concert, and from my view it was the most popular out of them all, in terms of the audience. Unfortunately I was too tired to re-live my experience at Diesel Dudes the other night, but they surely churned out some tunes and everyone were dancing lively to the pop-sounding electronic body music that Sturm Café have mastered throughout the years.

This time they played mostly classics and also delivered the best versions of these songs -as they should be heard – live. The execution of each song was absolutely flawless. After having a highlight for my first day on the festival, this became the other one and the best one, really. Upon hearing “Koka Kola Freiheit” the whole place erupted and the drums were amazing – the bass was resounding and blurting out uncompromisingly to everyone’s delight. The dancefloor was alive once more. It seemed like the quality of the sound was somehow enhanced, be that because of the production of the songs or the digging engineer in front of me, should be untold. But there was an overall difference.

I wish I had seen them earlier, they are really much more than what can be described about them. I am proud to have contributed to their discography in the form of a cassette-release. They have a certain quality musically that not many groups in the electronic body-genre can produce. Even though one might scorn them upon a first listening, this is one of those groups that can’t be dismissed just on their approach to the genre in terms of lyrics and concept.

Around the same time as Friday, the festival turned into more of a social event and I managed to hook up with more of the people I had only seen profile pictures of, or had spoken with before without being able to meet them in person. It gave a certain quality to the social interaction being on the same festival as them. It is a shame that it is only a yearly occurrence. I had been stoking the flames of my own excitement for Bestial Mouths, but even though they delivered some nice interpretations of their works, it didn’t give me the same kind of motivation I had gotten earlier.

Then I heard Xarah Dion from afar and was enthralled about her emotional deliveries of the music she’d created. I hadn’t really listened that closely to the music itself before but was attuned to it even more the more times I passed going from inside the festival to just outside in the camping-area. She had some really great songs in her repertoire, even though I didn’t experience it closer than that, it was a pleasant listening session for myself in my newly found social environment.

It is hard to sum up this festival and it isn’t necessary to have actively participated in every DJ-set or live-act, but it turned out to be a great listening experience whether one was directly involved by dancing or appreciating the music closely, or simply hearing it from a different perspective whilst engaging in other activities. I must say that I have never been to a more well-organized festival in terms of music, general pleasurableness and the non-existence of violence and anti-social behavior. Even though Kalabalik på Tyrolen is a very small festival in comparison to other counterparts – it is hands down – the best festival I’ve ever been to.

The sheer work of Christoffer Gunnarsson and his crew should serve as an inspiration to other D.I.Y.-festival makers for the future. It is really an impeccable show of hostesship. The fact that you can also get closer to the artists is a huge plus. Otherwise you’re locked out of that opportunity. They’ve really outdone themselves for me as a first time visitor and I was lucky enough to be personally invited as well, which for me is an honor and just cements the importance of Repartiseraren further. For the first time in these environments, since being invited to The Foreign Resort backstage in Christiania – have I felt that what I do make a difference and that people actually enjoy it.

I would be dismayed if there weren’t a Kalabalik på Tyrolen 2018. I would go again even if I weren’t a guest to the festival in terms of my hobby. They have another important factor about what makes them great as well and that is the representation of more established artists and smaller artists that get the same playground, basically. You’re intrigued about watching artists perform that you haven’t heard about and even though not everything might be one’s cup of tea, the variety is stunning for such a small initiative.

Thank you so much for one of my best experiences in terms of music, in 2017. It brought up so many feelings and the organizers, artists, new friends and old friends have my deepest respect. You are the variation we sorely need.

Yours sincerely,


Folkmun gör ljud till Ola Juléns diktsamling “Orissa”!


Folkmun (som är Joakim Granlund) har skapat en ljudbild för stycken ur poeten Ola Juléns diktsamling “Orissa“. Denna diktsamling släpptes 1999, och titeln är egentligen tagen från en stad i Indien. Men enligt Ola Julén själv, som nu tyvärr är framliden, så innebar det följande (enl. intervju på Promenaden):

»For mig handler det om at give associationer til noget afsides. ’Jeg skriver til dig fra et afsides land,’ står der i et digt af Ekelöf. Og det var den følelse, jeg ville ramme. Navnet Orissa er temmelig ukendt, det virker fjernt på læseren. Konkret er det en delstat en i Indien.«

Översatt till svenska av just det stycket ur intervjun, kan utläsas så här:

»För mig handlar det om att ge associationer till något avlägset. Jag skriver till dig från ett avlägset land, sår det i en dikt av Ekelöf. Och det var den känslan, jag ville gestalta. Namnet Orissa är rätt så okänt, så det verkar fjärran för läsaren. Rent konkret så är det en delstat i Indien

På ett ungefär kan det översättas på detta vis. Nåväl, jag tycker ni bör lyssna till den atmosfär som stegrar och omvälver denna poetiska uppläsning. Avnjut medelst rött vin eller vitt, eller vad ni än behagar. Denna låt är dedikerad till Ola Julén (1970-2013).

Promo: Vi streamar fyra Zeon Light-släpp!


a4272720738_10Zeon Light Kassett ligger aldrig på latsidan. Det vet vi med erfarenhet. Så när Juli-kassetterna är här, så är det lämpligt att streama dom på Invisible Guy. Först ur är eluna med albumet “drömmar och andra fobier“, där Sebastian Karika som han annars heter, demonstrerar en väldigt atmosfärisk sida av akustisk genialitet. Glöm bort den förutsägbara popen, lägg till en experimentell ådra – sikta och skjut! Folkligheten, i skvadron med synthljud, gör att eluna fullkomligt sprudlar av liv. De glimmande ljuden som långsamt flyger förbi, uppassade av onormal funkighet i rytmen, får en att vilja dansa med knogarna. Andra håller upp ljus, men i samband med ljudens färd från utsvävande och atmosfäriska, till koncentrerade samt svurna – så transporteras ljudbilden från hårdhet till mjukhet på sekunder. Här finns egentligen inget mer utrymme att täcka, för det lyckas eluna med ändå. Det känns som att det här är fulländat, men ändock avlägset. Kontrollerande, passivt, engagerande och massivt. För den oinvigde så är det lättlyssnat och man vill gärna sluka allting på en och samma gång. Dock så kan det meddelas att måttfullhet är en dygd när detta avlyssnas, och avnjutes. För om vi inte har varken drömmar eller fobier, vad ska annars fylla upp det tomrum som står ekande tomt? Ingenting. Lyssna gärna till albumet här nedanför. Den kan även köpas från Zeon Light Kasset för nio amerikanska dollar, och den är i begränsad upplaga om tjugotvå kassetter.

a2541356205_10Sum Comfort har länge varit (åtminstone) underground-pressens raring nu ett tag. Inte för inte så valde vi att vänta, och det gjorde vi helt rätt i. När allt väl har släppts ut, så kom albumet “Waiting To Exhale“, som ger taktslaget och det instrumentala huvudutrymmet. Tillsammans med väluttänkt sampling i låtarna, kommer bra överens med den lugna rytmen som bara vill glida fram i all oändlighet. Här handlar det mycket om symbiosen mellan det sistnämnda, samt klangen i musiken som helhet. Remixerna kan man inte ge mycket för, utan Sum Comfort bör lyssnas på i all sin originalitet. Man kan inte styra och ställa här, för det förstör själva konceptet. Ju längre in du kommer, desto mer klassisk R&B blir det. Eller ja, åtminstone tillsammans med samplingen. Mycket av det man hör påminner av en smärre version utav Jogging House, som släppt sina rykande heta tolkningar med beats som understöd. Måhända är det inte något som tilltalar någon utanför den sfären, men de första låtarna bör ändå lyssnas på. Tillsammans med den älskvärda indignationen från journalisternas rykande tangentavtryck. Eller nej, vi skippar det, lyssna på albumet – helt enkelt. Enklare än så blir det egentligen inte. Streama den här nedanför, köp den för nio Amerikanska dollar, för den är begränsad till trettio numrerade exemplar.

a3709533705_10Natten, ja nu börjar vi prata om något som är på riktigt. Hyfsat annorlunda för att komma ifrån Sverige, om man undantar de sällsynta exemplaren av dödsindustriell plåga och kringliggande mörkhet. Det stämningsfyllda albumet “Dhalion“, är sällsynt på så sätt att man hör en del saker man egentligen inte borde höra. Man måste liksom stänga av, starta om och spela igen. En hel del av materialet på detta släpp påminner om äldre post-punk, nyare cold wave, men är egentligen inte det – utan samlar kanske på sig lite allt möjligt, i mån av influenser. Fokuset ligger en hel del på atmosfären, men det finns något särskilt med tempot. Den sorgfyllda orkesteruppsättningen som spelar på sina trumpeter i bakgrunden bidrar till en fördjupning av ljudbilden som inte hörs på nära håll. Mycket är minimalistiskt, men mycket är även massivt. En hel del av låtarna ger större discovibbar, med tillhörande experimentell lusta. Den mest fröjdefulla beskrivningen kommer från bolaget själva, som påstår att det är “psykonautdisko“. Vilket det sannerligen är, på många sätt och vis. Men för den som gett sig fan på något, kommer även att finna mycket mer. Jag vill ha mer, vi vill ha mer, för detta är förmodligen det mest intressanta släppet. Streama hela albumet här nedanför, köp det som sig bör, eftersom att det är begränsat till tjugofem exemplar för nio Amerikanska dollar.

a0878373048_10HGHCLR använder sig även de av synthar. Men här är det mer än måttligt, då ljudlandskapen långsamt avlöser varandra, när syntharna vandrar uppåt längs med berget. Monumentalt intressant, som lämnar den mest ointresserade utan sina galoscher. För det här påverkar, och det gör det väldigt fort. Ingenting kan undvikas, då de lättsamma syntharna dämpas av allvarlighetens skimmer – och avlöser hela paletten av känslospektrumet på en och samma gång. Albumet som jag pratar om är “WAVES“, vilket förutom det korta CAPS-LOCK-influerade namnet, även kan härledas till de vågor som byggs upp och släpps lös i denna värld av musikaliska sjöäventyr á la Moby Dick. Mest av allt så blir man fylld av tankar, där ljuden är lika magnifika som den tankevärld som byggs upp. Sångarens ljuvliga röst ekar mot tomma rum, när följetången för de som inte är blinda öppnas upp framför ögonen på en. Likt en rekonstruktion av någonting som har fallit, står HGHCLR upp återigen. Ingenjörskonsten på detta albumet gör att man står utan något att skriva. Egentligen vill man mest av allt öka takten på fingrarna som knappar på tangentbordet, så att man kan få ut kritiken av albumet lite snabbare. Men här står man handfallen, för allting känns så jävla bra. Streama hela albumet här nedanför, köp gärna det för nio Amerikanska dollar. Upplagan har tydligen inte lika många begränsningar, mig veterligen.

Några frågor till Reveries!


Reveries är ett relativt nytt band, med medlemmar som både härstammar från Småland och Östergötland. Medlemmarna i bandet är Alice Axinder (Sång), Gabriel Petterson (Sologitarr), Noa Åkesson (Sång/Gitarr), Konrad Annerud (Trummor) och Martin Gabrielson (Bas). De står på stabil grund med deras egensinniga indie rock, som gärna drar influenser från shoegaze, post-punk, post-rock och en uppsjö av genrer som passar i sammanhanget. För att vara ett så pass nytt band, så har de redan figurerat i en mängd olika sammanhang. Förutom att de fått en kaskad utav bra recensioner, så har deras musik även varit med på den Amerikanska sportkanalen ESPN – i deras tävling “Real Street“, som arrangeras utav X Games. Utöver detta så kommer de även att dra ut och lira i sommar. Därför bestämde jag mig för att ta en närmre titt på detta band och ställa några frågor.

Bevisligen så kommer ni att spela en hel del nu till sommaren. Var kommer man att kunna se er någonstans?

– Ännu är det inte många spikade datum eller platser, men vi är på G i Norrköping, Motala, Gotland, Linköping och även East FM som är en Östgötsk radiokanal. För att boka en livespelning med oss kan man maila till reveriesswe@gmail.com.

Av någon märklig anledning så är ni fortfarande osignade. Har någon hört av sig till er och visat intresse än, med tanke på den publicitet ni fått den senaste veckan?

– Nej, ingen har hört av sig, däremot har vi fått enorm energi av de goda recensionerna vi fått, av gamla och nya vänner som kommer fram på stan och berömmer oss, och av människor runtom i världen som kommenterar på Youtube och skriver till oss på Facebook.

Till hösten släpper ni er första EP. Hur långt har ni kommit i processen av att skapa musiken till den och finns det någon slags baktanke med släppet, rent tematiskt eller så?

– Vi är strax klara med inspelningen av två låtar, utöver det planerar vi minst två spår till. Vi har velat komma åt drivet och energin i musiken, därför har vi dragit upp tempot i låtarna. Vi tror dessutom att det är viktigt med detta för att bjuda på en intressant live-spelning när man är ett litet och okänt band.

När det kommer till den svenska musikscenen, så finns där en hel del att kamma hem just nu. Vilka band tycker ni själva om, som är aktuella nu och som är från Sverige?

– Det är svårt att bara nämna några, och som sagt har vi en väldigt bred musiksmak. Men vi gillar The Mary Onettes väldigt mycket. De är ett medelstort band från Jönköping som vi tycker är väldigt underskattade och förtjänar att vara större än dom är. Goat, Holograms, Kite, Shout Out Louds, Tallest Man on Earth, Palpitation, listan kan kan göras väldigt lång. Vi får såklart heller inte glömma vännerna i Soundmeds!

Ert mål med bandet verkar att slå till på stort. Har ni rockstjärnedrömmar eller vad är det frågan om?

– Det är inget vi riktigt har pratat om eller har som mål, men det är klart att det skulle vara kul om vår musik når ut till många människor. Vi vill ju gärna resa runt och spela, samtidigt som man kanske inte vill bli den som alla känner igen. Vi tar det helt enkelt som det kommer men jobbar för att bli hörda, spela och ha kul!

På tal om det rent estetiska så är ert omslag till singellåtarna rätt fränt. Vad var tanken bakom det?

– Vi använde oss av en gammal bild som Alice tagit för flera år sedan, när hon precis börjat fotografera. Hon och hennes vän rände ut på en åker i bara trosor med katten, och fotade. Martin har dessutom känsla för design. Vi ville skapa ett eget omslag och tänkte därför att det var bra att kombinera deras talanger; resultatet blev Alice foto med Martins logga.

Tidigare så har ni även släppt ett par demolåtar. Finns det någon chans för att dessa kommer att vara med på er kommande EP?

– En av våra demolåtar har vi spelat in på nytt och arrangerat om, men annars är det bara nytt material.

Okej, nu har den virtuella tiden gått ut. Vad vill ni mest av allt säga här i slutet?

– Gå in och gilla oss på https://www.facebook.com/reveriesswe för att hålla utkik efter den kommande EP:n! Tack för den fina recensionen och intervjun!

Spotlight: Reveries – rvrs


Hela tiden kommer det nya band som ploppar upp likt träd ur marken. Vissa kan man spendera hur lite tid som helst med, medans andra växer till sig och blir ståtliga. Östergötland och Småland, i en underlig blandning, har fått ett tillskott i form utav Reveries, som lirar ett mellanting mellan sällsam alternativ pop-rock, post-rock – med en liten udd riktad åt post-punk hållet. Det är svårt att placera då man lyssnar på det, men ibland svänger det lite mer åt indiehållet. Däremot är det lätt att placera deras shoegazeambitioner, då det är en större del av sammanhanget, när man lyssnar på de två låtarna. Vilket ger dem deras stämningsfyllda och drömska ljudlandskap, som får en att glömma bort den tråkiga vardagen för några minuter.

Trots att det är rätt så långt bort från mina egna jaktmarker, så finns där ändå någonting som håller en kvar. Först och främst så är det välproducerat, och singellåtarna får representera två olika sidor av samma mynt. Man kan lugnt säga att det överträffar det mesta inom samma genre. Ibland är de för nära mainstreamträsket, men klampar utanför med en fot, medan de låter den andra vara kvar. Perfekt för den som tycker om det välljudande, men ändå längtar efter någonting som kan vara lite mer originellt. Låten “Phase II” har redan varit med i ett skejtprogram på den amerikanska TV-kanalen ESPN, i en tävling som heter “Real Street” – som arrangeras utav X Games. Så man kan väl helt enkelt konstatera att världen kanske redan ligger framför deras fötter. Om inte nu, så kommer den att göra det, när de stampar in sina fotavtryck.

Zeon Light släpper nytt med Johan G. Winther!


Som alla redan vet så var det i startgroparna för nästan en månad sedan. Då fick Invisible Guy äran att spela låten “As Above, So Below“, som väldigt många lyssnare uppskattade. Om mer än en veckas tid, nämligen den 15:e Maj, så släpps “The Rupturing Sowle” på Zeon Light Kassett, både på ett reguljärt kassettband – men även i en De Luxeversion som även inkluderar en t-shirt med egendesignat motiv, samt en poster och ett pin. Det förstnämnda alternativet kostar endast nio dollar och det sistnämnda landar på fyrtiotvå dollar, vilket är väldigt billigt för att inkludera så mycket, då det i svensk valuta ligger på cirka 270 kronor. Frakten är helt gratis inom Sverige och De Luxe-versionen är begränsad till tjugo exemplar, så om ni vill fynda får ni skynda. Här hos Invisible Guy kan ni även få möjligheten att höra ytterligare en låt, men då får ni vänta ett antal dagar till. Just nu kan ni lyssna till den nyligen upplagda låten “The Drifting Boat/Drunk On Blood” här nedanför.

Thee Showcase [#8]: Hela and el CAMINO!

843412213-1Hello, you’ve now stumbled upon Thee Showcase. Which is an attempt to make everything a little bit more classy. First up is the band Hela from Spain, which was created from the remnants of the band The Sand Collector. They’re currently prevalent with their single for their coming self-titled album “Hela“. It seems like they’re trying hard to be doom, but at the same time adhere to the more classic vein of heavy metal. In other words, they’re an interesting mix of those two primary genres. When it comes to the atmosphere of their music, their clean vocals with filters seems to be incorporated with the more melodic vein of doom metal you’ve heard for a while. Instead of chugging along with deep passages that are distasteful in their unmelodious splendor, these guys have caught the drift of melodic passages. Across the Atlantic, rounding every corner, being just a breath of fresh air between the two pair of contested genres. It’s noticeable how much of the music that is actually connected to the core of the melodic content. Nowhere to be seen is the more droopy feeling you can get by listening to a lot of doom metal. I hail them for this successful elimination of the bad things within that particular genre, as heavy metal lends them a torch to light the entire project ablaze. Hopefully, they’ll have even more success with their whole album when everything boils down to it. Because the two tracks being featured on this single are absolutely wonderful in their total dismemberment of a once proud genre. No, they’re actually the ones that blows life into it once again. Tracks featured on this single is “Horns Of God” and “The Wicked King“, the album itself will be released someday in May this year. It seems like it will be a D.I.Y-release.

NTR012 SMÅLAND 12 Jacket (No Spine)Another band that’s being featured here is from the same realm as me. They might not come from the same city, but el CAMINO are from Sweden, probably Småland. Before they release their second full-length “The Gold of the Great Deceiver“, they’ve actually released a three-tracked single which goes by the name of “Småland“. It will also be the main focus for Thee Showcase. What’s interesting about this band is their unorthodox brand of heavy metal meets doom metal, which isn’t actually in the same vein as the band mentioned before, but more dark and less quirky when it comes to the melodies. Much of the music seems to be centered around the vocalist, which does a hell of a job to conjure this nocturnal feeling and landscape of perfectly laden music. Reminds me a lot of the earlier Swedish death-doom metal, which have always been great in the department of producing both unmelodious and melodic content. Another thing which I would adhere to when listening to this, is the fact that they blend both Swedish and English vocals when it comes to the lyrical content. There haven’t really been many bands that could even produce great metal when the lyrical content had to be in another language than the English. Also, another thing that has to be mentioned is that they pull of a great cover of Venoms popular song “In League With Satan“, without it sounding ridiculous. It’s some mean music these guys produce and I hope their coming album will be something you actually can’t wait to get your hands on. Not to mention the obvious influence of some of the greater bands from the realms of NWOBHM. Sweden have been great so far when it comes to producing some unique music. I’m hoping they do more songs that are in Swedish, but I also hope that they prevail in the Anglo-Saxon language that is English. This release feature the songs “Småland“, “I lag med Satan” and “Daemonangel“. It was released by the Swedish label Night Tripper Records on the 26th of February. Their second full-length album “The Gold of the Great Deceiver” will be released in April.