Aldrig har jag varit så mycket för Marie Davidson som nu. Egentligen var jag inte särskilt imponerad över “Perte D’Idéntite” som släpptes på Weyrd Son Records i mitten av året. Men att hon nu tillsammans med J.S. Aurelius, främst känd för det originella skivbolaget Ascetic House och som är en medlem i gruppen Destruction Unit, gör en split tillsammans – kan bara innebära en sak: förändring. Vilket i sin tur innebär att “L’Espoir Est Mon Sentiment Le Plus Noir” blir en av de första låtarna som jag kan känna är acceptabla. Även om hennes tidigare alster inte skinit likt solen, så gör denna låt att man återigen börjar tro på att hon kan leverera någonting stabilt. Atmosfären är alarmerande, den är instinktiv och primitiv på en och samma gång; lägg till en stabil rytm med synthar som gradvis stegrar upp och sedan faller ner likt furor. Under låtens gång så blir man mer och mer på hugget, man börjar undra om fru paranoia gömmer sig bakom gardinerna eller inte.
Även om man kan påstå att “Vaste Obscurité” – som levereras med fransk låttitel såklart, innehåller en hel del spänning – så slappnar man av efter att ha fått igång sitt system. J.S. Aurelius låter en avskalad ljudmiljö utvidga mina sinnen. Det känns som om man flyter i ett orörbart tillstånd. Man bara existerar för att höra vad det är han kan ge en och ens sinnen. En ljusglimt kommer lite då och då, ibland hör man ett sprak, vid nästa hörn så öppnar sig hela universum för en. Om man inte redan vid låt nummer ett på denna spliten har öppnat upp sig själv för musiken så kommer man inte att tycka om den. Däremot måste jag ge dem att de är skickliga musiker och kan det här med att bygga upp ljudmiljöer; för att sedan rasera allt. Men det finns fortfarande kvar någon slags mening i spillrorna av det som varit. Denna split-7:a släpps på vad jag antar är upptakten till ett performance, men som även verkar vara ett skivbolag vid namn Neuromodulation.
Den 26:e September går en live-show av stapeln vid namn “Mysanthropologie“, där The Hand In The White Glove, Klondike, La Naegleria, Police Quest, Ater Charta och Unstained By Thought uppträder. Detta är dock ingenting som har med Ascetic House att göra, utan snarare har allt att göra med Neuromodulation – där samarbeten uppstår när de kan utföras. Lyssna till bägge sidor av vinylskivan här nedanför.
With their debut-release “Impronte Nella Cenere“, the Italian math-rock outfit Squieti blend those post-hardcore vibes with a punk-attitude. Their eight-tracked album showcase their melodic talent with rather melodramatic drumming. It feels like being caught in a limbo with no way to get out of it, together with a constant barrage of melodic post-hardcore with a despaired vocalist. Even though emptiness might be his schtick, the band itself make up for a lack of atmosphere with the clinging of riffs with the concrete drumming. The technical aspects seem inverted. The arguably short hints of what could make up a rather soothing atmosphere is quickly struck down with the beat of a drum, favoring the rather amelodic connection between vocals and the general melodies of the guitars. It is clear that Squieti focus their darnedest on delivering a rather original hardcore-sounding math-rock experience, where the melody is the center of attention whilst the drums control the rhythm of the sound-scape. Positioning themselves in a fortress of their own whilst not letting anyone enter for real. There are lots of great things about their music but they have their weaknesses. Sometimes the math-rock inspired wholeness of their sound is hard to really appreciate. However, they make up for this with interesting choices of melodies and their rhythmic greatness. Their tracks seem to loosen up for the real hardcore sound when you get past the fifth track, so that’s by all means a time-stamp for when shit hits the fan for real. Listen to their album in full down below. Made possible on vinyl thanks to their friends Annoying Records, Boned Factory, Fast DIY or Die, L’oltraggio Autoproduzioni, Speed-Up Agency and Sons Of Flies webzine. Recorded and mixed by Stefano Romano in 2013, released on the 29th of January 2014.
Another Italian band called Pastel did a split with the British band Merridew, featuring two songs by them titled “Momento nove” and “Laminal“. Their sound is very reminiscent of Squieti, with the difference of it being more into the screamo sound. Which is more of a 90’s-inspired one, together with desperate vocals which can also be heard from the aforementioned band. It wouldn’t surprise me if they share the same singer, because it really sounds alike when everything comes together. One main difference is the atmosphere which Pastel manages to curate from a whirlwind of drums, guitars with a rather dreamy but realistic sound, together with the stillness in between breakdowns and experimental touches of rhythm. A rather weird combination of deciding to go with a baseline that dominates through sections of their songs, especially when it comes to their second song from this split. Then it all suddenly blasts away again, making it feel like I’m able to reach further for myself, into the sky and the distant continuum that is space. They’ve got a rather space-y sound which is psychedelic when it comes to some of what it contains, but not all of it. Even though a lot of their sound is based around tempo and going downtempo, there’s nothing that can stop me from completely relaxing to this sound. Maybe it’s because of their passion which is channeled throughout, or their off-shoot from the shoegaze to the screamo sound. Whatever you’d like, this is certainly borrowing a lot of the greatest stuff from the 90’s, fueling their gruesome invasion into enemy territory. It’s because there’s a certain unfamiliarity when you try to decide for yourself what’s next. You never really know with these guys, which is a plus in my book. I might’ve heard it time and again before, but I am really into what I’m hearing. This split-release was put out by Glass of Spit Recordings on the 13th of March, and you can listen to the Pastel-side down below.
Iceland reigns supreme in this split between Icelandic natives aska and Kælan Mikla. Two different genres, but with something in common. A synth-pop track with the best elements included, a soothing synthesizer meets the retrofantastic atmosphere – in here aska creates his magic – related to the notion of “lágstemmt kuldabylgjupopp” (low-pitched cold-wave pop). This split came to be as a internet-only release. When it comes to the differences they display, Kælan Mikla deliver some kind of weird schizophrenic post-punk, with a sullen minimalistic ballad to begin with. Both alternatives are great, especially when you re-listen to the track “þögn” (Silence) by aska, as the icicles melt and simmer down into what could be an absolute breakdown of the Icelandic soul, dipped into the cold waters bordering around the island. The track which is portrayed by Kælan Mikla has a rhethoric question embedded into it, as it is titled “Ætli það sé óhollt að láta sig dreyma?” (Is it unhealthy to dream?). It’s a certain feeling that comes forth when you listen to the beautiful voice of the singer, but then suddenly it degrades into a complete post-punk frenzy – just like that with all the unhinged things it brings with it – a dark baseline later and you’re caught in her intermezzo. Even though the split only consists of two tracks, it’s a nice off-shoot into unguided territory. It also feels nice to include our Nordic neighbors into the mixture when it comes to this blog-zine. So stream and listen to this release down below.
Californian noise-rockers WTCHS have been molding their under-appreciated sound for two years by now. They are by no means underachievers, it’s just that a lot of people might not have heard about them – or their sound. Starting out in May 2012 with their single “Adult Crimes“, a rather low-keyed presence in sound with comparisons to; Danzig before he got bloated. Moving on from their rather stoner-rock themed first single to an EP titled “Wet Weapons EP“, which virtually holds the same sound true. Though it’s combined with slightly more indie-pop and math rock, the sound-scape itself stays true to a general atmosphere found in their earlier release. Move on to January of 2013 and their sound gets even more gritty, more noisy – when they begin to punch into noise rock for real. This release, “PIE-002“, featured not only their track “Future Fires” but also tracks by Bleet, Wild Domestic and I Smell Blood. In April, their sound got paved into a combination of their earlier noise-rock sound, but featuring an even more math-rock-inspired outfit, dealing with anguish and changes in the landscape of sound only appropriate for those wanting to deal with the harsher side of their sound. The release was a split together with Thoughts On Air called “WTCHS/Thoughts On Air“. In September, a few months later, they put out a split together with Das Rad – titled “WTCHS/Das Rad” – featuring a less rock’n’roll side of themselves, instilling hope of a noise-pop future. They’re been released by labels such as Buzz Records, Out of Sound, PERDU and Sonic Unyon.
Their latest release, which came out in half a year after their split with Das Rad, is their first full-length album ever. It could be said to be their debut-album. This album, being simultaneously released by different labels, have a well-rounded sound and it feels like they’ve hit their mark with it. Therefore, the logical conclusion is an album instead of a split, single or EP. It’s titled “It’s Not A Cross, It’s A Curse!” and touch different territories of sound, making it a nostalgic trip back into their lowly presence with indie-pop as a mere placeholder, to noise-rock, away into math rock – crossing genres as they pass into something they can call their home. I’ve been given the opportunity to exclusively premiere a track from this release which was put out on the 4th of April. The track “Tiger” from this album is featured exclusively for your listening pleasure. You can stream and listen to the track itself down below, and you can also buy their release from themselves, or their different labels. Check it out, because this is something you wouldn’t like to miss. They’ve got a lot to offer musically, a stringent response to an unhinged world.
A psychotic introduction to what pale faces are. The Pale Faces are a trio from Leicester that symbolize the total decay of the United Kingdom. Having been featured on their first release back in 2013, as a split-release together with the band Subtitles, with their own track “Any Day Now” on Goodtime Recordings. Ten days later, in the midst of the beginning of the year, in January – they released their first full-length debut-album “Gee Baby, I’m Mighty Blue For You” on the same label. Staying faithful until then, it would take a year more for them to finish their latest addition to their hypnotizing brew of psychedelic and insane combination of garage-pop and what they call “hardcore psychedelic pop“. Their latest album “Chaos Beach” was released just about two months ago, in February this year. Which is probably their most psychedelic and crazy release up until now. Clearly a symptom of everything that is wrong about Britain today, the youth set out in balaclavas to disturb and be rowdy. I got a submission from Two Headed Snake Productions, the production company that filmed a video to one of their absolute mental songs on this album, the most insanity one could gather. I didn’t think much about it and let it be for a while, but I unearthed what they actually wanted. They produced a video for the track “Heavy Mental“, a nice spin-off to heavy metal, but also a stroboscopic disaster waiting to happen, nothing for epileptics.
It’s probably one of the rowdiest tracks I’ve heard for a while. Feeling outnumbered and that someone is out to get me, is one thing. But their complete disregard for the intention of their own music is rather criminal. After listening to it and watching the video, these loonies should be locked away. Though I must admit that something in their music, be it the crazed out psychedelic pop, or the garage-influences – serve as a post-mortem on the good days of what Britain was a long time ago. They’ve accidentally stumbled upon the historic archive and made a mayhem on it. The music-video itself is also ingenious in many ways, but also terrifying. I suggest you take a peek for yourself and you can also stream their whole album “Chaos Beach” down below if you’re in need of a little bit of calm beneath the stormy sea. Because they’re capable of that, too – believe it or not.
I’ve always been interested in the crossover between surf punk, garage and post-punk – but definitely not in that order. Corners is Tracy Bryant, Billy Changer and Rick Mabery from Los Angeles, California. They’ve more or less been around since 2012, when they self-released their first album (and release) “Beyond Way“, which was later on picked up by Lolipop Records and re-released in the same format – namely a cassette, but this time; rather limited. In August last year they released a 7¨ titled “My Baby” which featured the two songs “My Baby” and “Automatic Man“, which were two completely new tracks in their repertoire. Per usual, Lolipop Records released it. Since I didn’t know very much about them until I read more about them, and found them via Bandcamp, they’re actually releasing a new record – which is a split together with Dirt Dress, a band which differs a bit from themselves, but can be counted into the punk-category. They’ve also been around longer. So therefore, I would like to present the track “Pressure” for you, to listen to. There’s both a hollow line between surf punk and its rather energized tempo, and the more callous and dark post-punk, in comparison with the regular garage-rock sounding vocals. Surely, there’s a lot of common ground between the genres, but also uncommon. However, it sounds great and is pretty much what you’d expect with that combination, which makes it worthwhile to listen to. So I urge you to stream the track down below and check Corners out, as well as Dirt Dress.
For everyones interest, the much revered Malignant Records have recently unleashed the furious picture-disc 12¨ split between DEATHSTENCH and Trepaneringsritualen – whose presence haven’t gone unnoticed. A mythological nordic connection, an esoteric nihilism, the wings of death-industrial are spread into the realms of ritual death-industrial and ambient – but also entrench into the occult. Trepaneringsritualen is the alias which Thomas Ekelund puts out his excellent, and original ritual ambient and death-industrial on. From old norse to his first release “Ritualer, Blot och Botgöring” released by Harsh Head Rituals, to his latest compilation “The Totality Of Death” released in two different versions by silken tofu and Malignant Records. Earlier versions of this release was not on label in 2011, came into Beläten on 2013 – and then on the aforementioned labels. Not to mention the countless releases on other labels, in different formats, Thomas Ekelund has shaped Trepaneringsritualen to what it is today. Always with exquisite physical packages which harken to the purpose of his alter-ego. Not to mention that he’s been releasing material under the guise of Nullvoid since early 2000’s, on his earliest net-label for experimental releases – Fukk God Let’s Create.
To the abstractness of his maniacal ego-tripped project Teeth, with releases such as “Sick Sick Sick” on When Skies Are Gray, and “So Sick Of The Reflection In The Mirror” on iDEAL Recordings. I could go on forever, but I want to nail the hammer to the head. He’s been involved with two labels, which he’s been the sole proprietor of; Fukk God Let’s Create and the successor Beläten. His name has also been written by the name of Dead Letters Spell Out Dead Words, and his more recent collaborative efforts through the nickname Th. Tot, in the form of remixes and assistance to Soma Sema and Sutekh Hexen. Now, he’s got a track on the new 12¨ split-release picture-disc out on Malignant Records. I told you that I would be giving you a surprise, and here comes the last one. The track from the DEATHSTENCH/Trepaneringsritualen-split that I will be premiering thanks to Thomas himself, is titled “Åkallan Mímir“. It’s a 17-minute long mammoth that hasn’t been out more then as an excerpt of 7 minutes at most, so now you get to enjoy the ghastly performance of Thomas Ekelund himself under his moniker Trepaneringsritualen – exclusively on Invisible Guy for your dissatisfaction. I’d like to thank Jason from Malignant Records as well, for giving me the “go” for this last surprise, too. So plunge yourself into this egregious apocalyptic landscape and fall from grace, stream the track itself in its entirety exclusively down below. Buy the physical edition over here.