Exclusive Premiere: Fléau – IV

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Anywave are back in action with a new Fléau release, it was a long time since they released their first self-titled album, three years have already passed like it was nothing. Together with their partner in crime, Atelier Ciseaux Records, a five-track album titled “II” will be released on a limited edition run of vinyls, a collector’s edition of 50 hand-numbered transparent vinyls and a book by Raphaël Lugassy called “Organs“, and a regular edition of 200 black vinyls. The artwork for the release is stunning as usual, the work of Myriam Barchechat, photographies by Raphaël Lugassy.

It is very true that Mathieu Mégemont‘s (Fléau) new direction strays away from his original sound, but it introduces a whole other complexity found otherwise within more alternative electronic genres – creeping in between the ambiguous nature of the sweeping, soothing landscapes of sound that hook you in. Even though some aspects of his new release stays true to what he created on his debut-album, this newly developed and intriguing metamorphosis suggests he’s expanded – instead of becoming cliché.

We’re honored to be exclusively premiering “IV“, a song taken from the forthcoming album, due to be co-released by Anywave and Atelier Ciseaux on vinyl, on the 29th of March. You can pre-order it already by following this link, listen to it exclusively via Repartiseraren down below.

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

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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.

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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.

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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.

Listen: DECADES / FAILURES, BURA BURA, Soft Riot

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Though the cover is too macabre for our taste, as the once beautiful woman have been thoroughly manipulated into looking as a piece of modern art – which in itself is very distasteful – DECADES / FAILURES musical aspect trumps everything else. As written in the description for the release, this piece of music was mastered in all haste, only using meager methods of recording – such as a blown speaker – all-in-all it adds more then it takes away from the music.

A bed-ridden and sickly vibe transformed into brazen post-punk, with an atmosphere of chords that are simply otherworldly together with the heavily distorted vocals. There’s a hopelessness that can be found in the lyrics and the general mood of each song, especially “Song 5” – but as a closing song it manages to ooze with hope, a light shining through in our darkest moments. Had this been mastered a bit more, or maybe been recorded in a different setting – it quickly would’ve lost its inner message and tone.

Listen to the release in full down below, buy it digitally to support the artist, so this can hopefully be made into a cassette.

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Uncompromising body-music turned into a mish-mash of new beat industrial greatness, Australian outfit BURA BURA manages to catch a depth which is overlooked within electronic body music, as his heavily transformed vocals bounce against the complex percussion in each song. A lot of the songs would fit better in a cinematic setting, but some of them are outright ridiculously great to listen to in some parts, especially “Flex Like Rex“.

Ironically enough, what he manages to pull off best is the neo-noir vibe of post-punk lewdness and electronic body madness – not so much with the more electro and industrial-influenced tracks – a catastrophic mess of blends and meshes that need to be more thoroughly tested for the forthcoming releases. The passages of swirling ambient that takes you into new heights of your own consciousness is frightening at first, but when the beats whirl around your head and you go further down the tunnel, there’s nothing anyone can do to stop it.

The release is available both digitally, and on cassette via Moontown Records. If you’re into it, you can also purchase one of the totebags specifically made for this release. Just follow the link through bandcamp down below.

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Soft Riot have long been one of our favorite artists, as he dabbles with the most comedic aspects of synth-pop music – but manages to keep a straight face through everything – delivering complex and atmospheric synthesizer music – especially in this new release, “The Outsider In The Mirror“. When it comes to the lyrics of some of these songs, he reveals how much talent it takes to create such imaginative lyrical content – whilst keeping the music in tune with everything he utters. It might not be the prettiest voice in the world, but there’s a sinister tone in his voice, there’s a sincerity being delivered with every word.

Waiting For Something Terrible To Happen” is a spastic ambush, a ticking clock of weirdness and anticipation, delivering catchy arpeggios and creative outbursts of heavy, deep electronic vibes. Even though it might not be some of this best releases of all time, it is a more cheerful and less moody vibe to this, a sense of belonging is shown between the lines of tongue-in-cheek lyrical brazenness. We’re eager to hear more of this, even though he’s heading in a very experimental yet freakishly pop-oriented direction.

The release is available for purchase via Possession Records, digitally, on CD, vinyl and cassette. You can purchase it below by following the bandcamp-link, or simply stream until you make your mind up.

Listen: Grand Mal x – Darkness

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Harrowing, eclectic dance music for those who appreciate the esoteric. Grand Mal x surprise us with another release, in companionship with Michael Idehall whose music can be related in one way or another to this project musically, but they deal with the concepts differently. What is most enjoyable when listening to “Darkness” is the complex synthesizers that pin angelic towards demonic – sin against the good – a constant battle between what is right and what is wrong.

Stjärndamm” is our favorite song on this release, with a purposeful barrage of basedrums that hammer into your consciousness, the dreariness of the atmosphere consumes you as it progresses – or regresses. There are some beautiful chords laden from the synthesizer as well, together with second long samplings that pierce through the malevolence of it all – though the concept of it seems beautiful when you utter the title, but the music itself suggests something different.

A thoroughly complacent album, a deep insight to everything that shaped and formed Grand Mal x from before – concentrated into a roller-coaster of emotions, messages and sublimity. There are facets you don’t recognize once you hear it the first time, as in “Black Book” which was co-written with Mattias Ivarsson, a very different song that detaches from the release as a whole, but knits it finely together with “A Star For Everyone” – a song also featured on our own compilation “Volume 2 – It Will Never Be The Same“.

Buy the CD from the Ant-Zen mailorder, or purchase the digital release below while you’re streaming the release anyway.

Review: Celephaïs – Grey Dawn, Quaint Gardens

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Ordo Viatorum surprised us first with the split between Neugeborene Nachtmusik and Onont Kombar, to us they seemed like an off-shoot to Enfant Terrible at first – though they share common ground in a lot of aspects – this label is run by Jeroen Holthuis and Maurice Hermes. The label is even more experimental, if that is even a possibility. The second release to be reviewed on Repartiseraren came out in November last year, and features the first album of the duo Celephaïs – Ian Martin (Kaval, Opfer) and Jeroen Holthuis, titled “Grey Dawn, Quaint Gardens“.

We were sent a physical vinyl (limited edition of 300) which is remarkable in all its simplicity, but more on that later on in this article, as we’re about to show you the full layout of the release itself in the pictures below.

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Gladly enough, there’s nothing negative to report about in the shipping process, everything looks pristine and is working as intended. So here’s where PostNord actually didn’t screw up in terms of delivery, a once in a lifetime experience. There are two more pictures which feature the A-Side and the B-Side of the vinyl itself, which can be viewed down below, and then we’re off to the aesthetic aspect of this release.

The aesthetic aspect of Grey Dawn, Quaint Gardens

It is clean, easy on the eyes and beautiful in its own particular way. White and black, some hints of light brown on the vinyls themselves, and the insert almost looks like a Rorschach-test. There’s always been hints of different colors beneath the black and white facade that Ordo Viatorium have portrayed before this release, there are subtle notions of something else hidden away that you’d have to look for before even finding it.

Even though the aesthetics aren’t that pleasing when it comes to the cover, it is simply because it is not something we’ve grasped and can relate to in any way, it feels like a profound release when viewing the package as a whole, but be wary of catching a mind-virus, as it feels like looking at something resized a million times as if it was originally viewed through a microscope.

Those kinds of aesthetics are not off-putting, but it is subliminal in a way that we cannot fathom – but the artists themselves had a clear intention of putting images in our heads – and that goes perfectly well with the music. It’s pretty standard for any experimental release to have something that doesn’t adhere to the norm – but it has rather become the opposite – that experimental aesthetics have set their own norm – which isn’t touching your soul in the same, rebel spirit as it may once adhered to.

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The musical aspect of Grey Dawn, Quaint Gardens

As described earlier, this duo consists of Ian Martin and Jeroen Holthuis, both of them are no strangers to experimental electronic music. Ordo Viatorum is proving to be a viable platform for these projects to flourish, without the help from the outside and little to none recognition, which is wholly undeserved. The musical experience these two possess is what reveals itself in this debut-album, “Grey Dawn, Quaint Gardens“, now we’re going to delve into it as per usual – on a track-by-track basis – for the review.

Undreamed Dreams” is a paradox in itself by name, but it adheres to the concept in the title of the track, a dreamy and ambivalent soundscape set in motion by a hushed electronic motion that steadily creeps in on you. A boat that never reaches harbor, a train that huffs and puffs like the old days but never stops on a platform – a continuum between awake and asleep. It is a ghastly feeling to be caught in a limbo, the more you notice the vague and sensible touches put in there by the artists, the more uneasy it feels listening to it.

We conjure the most horrible thoughts, as time passes by this is where time stops for a while and feels like an eternity. Not even on the second track yet, and we’re not even upset because of boredom, but it is upsetting to be drawn in and latched on to musically – it feels like never letting go, a constant reminder that you can only affect as much of the world around you, but it doesn’t make a difference in the end. There are some beautiful nihilistic tendencies which gives off a cold, stale emotionally charged vibe.

The music itself is as if ambient were re-occupied by the greatness of Tim Hecker’s earlier material once again, just in a completely different setting. It is very European in style, and delivers what can be construed as a thoughtful but menacing barrage of noisy synthesizers, simple but provoking droned out sounds, abhorrent ringing sounds and rambunctious arpeggios – a wake-up call on a Sunday evening that Monday is tomorrow.

Resentful Of Awaking” is being hit by the sunlight when you just want to pass out, another day to tackle with inane activities. What becomes clear after two songs in is how accurate the titles are, they have not just been made up out of the blue, like most ambient songs have – they actually reflect themselves into the music, as it have reflected it back when first being named. This one is more beautiful in a calming fashion, though some of the sounds manage to send a chilling feeling down our spine. If we’d hear this every time we’d be waking up, we would’ve been filled with energy and optimistic about the rest of the day.

There is a certain nerve of darkness that smothers itself upon you, when the rain hits your window and you’re forced to endure walking through it on your way to work. When the music is so thought-provoking in different ways, and you can just soak it in – doesn’t matter if it is negative or positive – you know the musicians have succeeded. It is an art form if you manage to pull so many strings, so many nuanced feelings in between that can’t be written in words, that you should be aware of what talent you’ve amassed.

Damp Stone Spiral Stairway” is the best song overall on the A-Side of this vinyl, nothing beats the constant brooding, deep base tone that makes your head spin round and round like the vinyl itself on the turntable. You may feel nauseous, you may be a bit dissy after hearing it – but when paired with the flair and urgent sounds in the background – the atmosphere cannot get any better. Having built upon a solid ground, this uproots on itself and heads upwards, through the mountains. Have I ever wanted to witness Aurora Borealis in sound, this is it – or at least close to one of nature’s phenomenons – it is almost as if they’d want to mimic something like that with the sound.

When paired with the whole audio-visual experience, this song becomes even better and should solely be watched together with this video, even though it definitely holds up on its own. Some of the best combinations of ambient and experimental electronica in general that we’ve heard for quite some time.

Red-Roofed Pagoda” starts off with a whirlwind of buzzing sounds, spaced out electronic music and a more industrially-oriented paved way musically. There’s more surprising elements fused within the music itself, and chords that feel like they are going somewhere – rather then laying the emphasis on a massive atmosphere – it is more compact and solidified. It is heavy on the ears but not antagonistic in any way, there’s a seriousness that isn’t fading out any time soon, an urgency to deliver a musical message or show the way, despite what you think of it in your own mind.

Had there been any vocals on this one, they’d be suitable for power-electronics and industrial, but more so the last genre. It is almost as if there will come something that reminds you that it could be power-electronics or noise music, but they discard that run-at-the-mill option and go heavily into other territories of unexplored synthesis. An eye-opener for anyone interested in those genres, as it is most often invested in what came before but not on what comes next, or what could be morphed into something in between all of that.

A Violet-Coloured Gas Told Him” is by far our least favorite song, it doesn’t swing the rope as high as the others and instead falls short. There is a short way to climb, but this is as if something was concocted in a laboratory, where the main focus wouldn’t be on establishing anything to bridge over from the gap the last song left, to the song after this one. Unfortunately it feels bland and uninspiring, though some moments of it leaves more to the listener in terms of experience.

Here’s where they jumped ship for the first time, there really isn’t anything that makes you feel anything. If that is the point – then they’ve succeeded – if not, then they’ve failed miserably, unfortunately. We’ve tried to listen to it multiple times, but it barely gets interesting on the end of it, but then we’re all deaf ears.

Good thing to be caught up in “They Seemed To Gallop Back Through Time“, as it saves the evening, literally. Despite being the last song on the vinyl, it proves to be a great outro as well as a song, heavily invested in intangible themes and a compromise between atmospheric electronica and the more industrially oriented side of Celephaïs. There are also some oriental vibes caught in between all of this, but as they fade out it begins to get more scarce with that. Then – all of a sudden – they jump back into it, more outdrawn and less stoic, more psychedelic and with a vengeance.

What do we think of this album all-in-all? It is probably one of the greatest debuts we’ve heard in these genres, and we’re interested in what will happen in the future for Celephaïs. They provide you with something different, even though you hear similarities with other artists and groups, but they don’t affect your judgement when listening to this. To get the ultimate experience, you definitely have to get the physical edition of it, the vinyl – from Ordo Viatorum. You can listen to some of the full tracks from this mix Jeroen made for SEER 334, down below.

 

Review: Rope Sect – Personae Ingratae / Proselytes (CD)

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Caligari Records have been a favorite of mine since some time back. Always on top with new releases, always on point with the darker themed musical styles (mainly metal) – everything is allowed if it is contained within these limits – and they don’t do a half-arsed job at it. The proprietor of the label was kind enough to send a physical edition of the release about to be reviewed, and we’re glad to finally be able to listen through and critique an item from their discography.

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Unfortunately to our own dismay, the case was slightly damaged with what seems to be small cuts on the front of it. The CD itself was not damaged but the plastic attachment which keeps the CD in place was in half, thus there was no use for it at all – thanks to our wonderful shipping company PostNord – who seems to take much joy in making sure that shipments arrive as damaged as possible, unless packed very tight and secure.

 

The aesthetic aspect of Personae Ingratae / Proselytes

Aesthetically the whole package, despite it being a standard jewelcase, is really magnificent to look at. The booklet comes with lyrics for each song, and at the end of it (pictured) there’s a very well-drawn image of a man which could resemble any statue from ancient Greece, holding a rope which yields a perfect representation of the band’s name. Just beside the man is a tightly knit rope, where the words “Venerate the rope! Fear The Rope!” is written beneath it. Makes for a very sinister impression.

The decorative‘ aspect of this release is what makes it, though the fonts are somewhat off-putting except on the front of the CD where it almost seems to be sketched out rather then digitally put there – even though, in the end, part of that dimension as well. You know very well what kind of genre it ought to be by looking at it, even though you might not be able to place the sub-genres, which is a slightly ambiguous touch that makes it even better. Shows how much can be done aesthetically without the release having to be more then a jewelcase.

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The musical aspect of Personae Ingratae / Proselytes

Rope Sect as a band is a trio, consisting of ‘Inmesher‘ (guitars, drums & vocals), ‘Harbinger‘ (bass) and ‘Gaarentwynder‘ (additional guitars). The release is a compilation, a combination of their first EP released by Caligari Records on cassette, “Personae Ingratae“, and their double-single “Proselytes” released on vinyl by Iron Bonehead Productions. We want to make it perfectly clear that we haven’t heard these releases in their physical format, therefore we can’t do any comparisons and if we had we wouldn’t any way because it would only make sense as that instead.

Fallen Nation” starts off with an ominously sounding German quotation in sound sampled from somewhere, heck knows where. Then what could be described as some crossover between metal and punk, but without the -core in it. Somehow it reminds us of a better, less outdrawn version, maybe heavier in certain aspects – later Katatonia. If they had mingled with Jawbreaker, but without the cheesy lyrics. It is hard-hitting, straight up emotional and there is where the first comparison is drawn, out of a sense of nostalgia and not so much musically – even though some of it is similar, in terms of melody.

It feels weird that a first track on a release can be so addicting. A perfect cocktail of nihilistic tendencies together with a dim, bright light of hope in the end of the tunnel. The drums are muddy, distorted and together with the guitar work and baseline create a malformed, rowdy atmosphere – which is then smacked together with clean vocals. The vocalist is really talented, he pulls off such an emotional but assertive tone in the way he articulates each word, lyrically.

The second song “Tarantist” ups the instruments a notch in terms of how the solos, the riffs and the overall rhythm is concerned. Sure, much of it is similar with the first song, but it has a more deathrock-ish vibe over the atmosphere, perfect for a December’s evening like this. We find ourselves digging more to this song, even though the first one had its perfectly laden harmonics. The psychedelic edge in some of the riffs are absolutely glorious in all their simplicity – they manage to bridge to the chorus in a down-tempo – to maniacal uptempo after a few seconds, so effortlessly.

Even though it makes no sense in text at all, the most powerful lyrical content in this song is when the singer calmly but ominously proclaims: “We’re gonna die – why?“, it hits so close to home that it almost frightens. It is so existential in a beautiful way – yet it gives you an unobjectionable push into the grim realities of life, which isn’t as romantically charged as the notion of living forever either as a memory in the past, or resurrected in the future.

Pretty Life” heads in a different, more downtempo way that has a lot in common with atmospheric black metal, instead of the punk (and sub-genres of it) overtones that dominate on this record so far. Too bad that it is so repetitive and doesn’t really cast a good light on the vocalist as it has done with the uptempo, more aggressive songs before this one. Sure, some moments are great as when the more ‘acoustically’-oriented passages that add an upswing to an otherwise not that interesting song.

Some facets of it can be intriguing to listen to but it is not what we’re expecting after we’ve listened to Rope Sect, we’re sorry to say that. If anything, the abrupt ending is in a class of itself, since this song doesn’t need to be more outdrawn and killed right away. Don’t get it wrong, it is not a bad song per se, but it is an OK song in comparison with the other two which set the standard very high.

King Of The Night” remind us, in a good way, what the commercially successful band Ghost would’ve been if they hadn’t sold out from the get go. Rope Sect is like the better version of what the ideal would’ve been with that band, even though it was dead from the get go, really. A really trashing song from the get go which includes the better parts of good death metal, with the melodically oriented stance that actually, by now, defines their music for us.

Not to mention the classic rock’n’roll vibe coming out of the second chorus, the solos from the guitars are fantastic. They also slap the darker atmosphere on it so that it doesn’t flip out and go into full deranged death’n’roll. In this song comes another memorable line, which also touches emotionally through how the singer delivers it vocally – “We found the gallows sling in the light / A lost reversal of fortune“. What a great line lyrically. It gives off a very subliminal message as it goes through your brain, an ambiguity not easily taken away.

On this compilation, “Recess” feels like the dividing line between “Personae Ingratae” and “Proselytes“, even though it originally wasn’t. A good piece of death-doom metal but with much better melodies then there generally is in that crossover genre. They are really accentuated and heightened in this short song. An uproar of the most desperate anguish, but without the cheesiness that would be attached to it otherwise with bad lyrics, so it is actually good that they went full instrumental for once. Though it wouldn’t of been any trouble for the singer to lay his unique touch on it as well, had it not been.

Ochlesis” is the longest track on the release, and feels like a combination of all the good in the first few songs and the otherworldly nature of their atmosphere. Simple but ingenious riffs lay the foundation of the choruses, as one is transported between all possible sub-genres and back again. From metal to post-punk, doom metal to gothic rock. There’s also an downtempo part that is fanatically great – they leave room to each instrument, and let the different textures blend together through silence and noise – completing the sound in a vividly imaginable perfect scenario.

Though the first part shines the brightest, as that is their stronger side, it is accompanied by an even heavier laden barrage of the finest metal you could imagine. Nothing is compromised when they get to do their own thing, whatever that could be called in a summary. Though, as written in the first paragraphs about this song, it is clear that it is a combination of all the best elements so far from this record.

Death Is Your Lover” is by far the roughest sounding track so far, having more dark riffs then ever before. The title alone suggests what you’re about to hear when turning it on. The drumming also goes into different riffs, as it almost wants to go into full blast-beat as soon as possible, but is hindered by the fact that it is as gloomy as doom metal can be when it is at its best – in combination with the psychedelic, slow and hard-hitting aspects of that certain genre.

Little bits of pieces in this song are good, but together it doesn’t stand out that much in comparison with other songs. There are different ambiance that could’ve been adjusted a bit more, and the singing gets a bit dull after parts of it, but without a doubt the lyrical content of this song is one of the best. Especially the repetitiveness of it all, which lulls one into uncertainty.

Rattenkönig” is so pleasurable to listen to. It holds up great in all aspects and is except the first two songs, “Fallen Nation” and “Tarantist“, which in itself makes it a great song. The lyrics flow so well, as if the vocalist have lived what is described himself. As if it is recited by a great orator. There’s really nothing more to be said then that it gives off a spiritual feeling when listening to it. Such a great, uncompromising and skilfully made song that it isn’t even funny. Nothing could be done better in it that would make it even more outstanding.

BothQuietus” and “Proselytes” is if you had inverted the record itself, not that they are identical to the first two songs musically, it is just that they are as great in their own respects. Here, they’ve added a bit more that gives the atmosphere that knife-sharp edge and volatility which some of the other tracks miss out on. The first song mentioned actually contain some blast-beats to our joy, and it is the better one of the two, but both are god-damn impeccable.

Such a great ending to an otherwise more than good compilation of two releases. We could not recommend it more, actually. It is just a shame that it hasn’t gotten more publicity, because this sure is a hidden gem in the Caligari Records discography – despite it being the next-newest release there. If anything, you should really get this CD because nothing beats having the physical item. You can get it digitally and on CD from Caligari Records, stream the release down below to make up your own mind.

 

Exclusive Premiere: Duran Duran Duran – Sinking About You

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Not to be confused with Duran Duran, the more experimentally oriented electronic musician Duran Duran Duran (Ed Flis) is now having his latest release put out on Tripalium Corp – as a part of one of their ongoing release-series – Digital Mutant. The title of this release is “Bolo Trax” and sports some very intuitive, beautiful and forceful ambient-styled electronica on the a-side of the release, whilst the b-side is filled with a claustrophobic and abrasive experimental kind of electronic music.

What’s exciting about this release is that it is a very limited edition cassette, only forty copies made, which after it comes out will become a sought after item. Even though some of the music isn’t that appealing when listening through it the first time, like many good releases it starts to grow on you and certain themes can be sought out within the music and yourself as you connect to it on a weird metaphysical level.

We’re proud to be collaborating with Tripalium Corp in getting to exclusively premiere their releases, and this one is no exception. You will be able to stream the song “Sinking About You”, taken from the a-side of the release, exclusively on Repartiseraren nine days before the actual release. Tune in to it down below and don’t forget to pre-order the cassette. It is also available as a digital release.