Exclusive Premiere: Knifesex – Living Flame

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Finally, Vanessa Irena of Knifesex – as she calls her solo-project – is getting a proper debut-release via 3t3rnal Records on the 17th of November. Repartiseraren have gotten the exclusive opportunity to premiere a full track from her album “Babalon“. According to herself the inspiration for this release have come through an appreciation of the occult, a dedication to the apocalyptic. The ritualistic nature of her music is expanded upon in this release, for those of you who’ve heard “Blood From Stone” from the first compilation on Repartiseraren will not be disappointed – it is more of the same and even furthers the experimental, but ambitious electronic sound.

There is no secret either that she draws these inspirations together within a feminist approach. The album consists of seven songs and we’re going to give you “Living Flame” to listen to, a week before the release-date. You will be able to purchase the album digitally through 3t3rnal Records on the 17th of November. Listen to the exclusive song down below.

World Premiere: Cape Noire – Avalanche

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With monumental influences taken from black metal aesthetics, it’s weird to realize how trip-hop can be thrown in to make it something completely different. Hailing from Paris, this collective of nocturnal souls make up Cape Noire – an outfit that flourishes in the catacombs. With their catchy trip-hop sound and their atmosphere lent from darkwave and other electronic genres, they fuse soulful vocals with different aesthetics. You could honestly say that “Fire” – their only publicly available track – have a musical ground available in more commercial music. Although that song is more of an anthemic introductory to this collective, it’s nice to see how you actually can stray away into darker melodies, ambitious vocals and still keep some kind of artistry connected to more widely attractive genres. But it’s good that all clichés are swept under the rug and that they develop their own sound, because that’s ultimately what gives the listener a more steadfast connection to their music.

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Repartiseraren have gotten the honor to premiere another piece of music from the strictly limited CD-release put out by Cape Noire on the 11th of October. This item will probably be a collectible, so you’d better hurry and buy one because they’re limited to thirty copies, handmade all matte black and silver ink buffered package. Their aesthetics revolve a lot around the mystery of who might be the actors behind the moniker of Cape Noire – in turn fueling the relevance of their music – besides it being masterfully crafted for your listening pleasure. Now you get to listen to another track from that release, namely: “Avalanche“, which gives you an insight into how versitale they seem to be. You can sense some dark cabaret influences that move their way through a more carefully laden atmosphere, but with utmost sincerity the trip-hop beats are laden in perfect conjunction to the marvelous vocals. Listen to the track down below. Buy the CD from them here.

Mini-interview with Rougemarine!

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

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

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

So, what makes Rougemarine any different?

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

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

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

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

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

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

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

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

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

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

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

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

Promo: Midnight Smack – Knowledge Eater

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Nick Siamas makes really interesting music. For anyone that doesn’t (in particular) like hip-hop, I wouldn’t waste my time with this, otherwise. I’ve been coming back to him on a regular basis, since his releases come out pretty frequently. Earlier, he’s released “Feline Sleepwear” and two other releases, but he’s also been featured on a compilation. But the aforementioned release is probably what I know him from, at least. His beats are chopped up and repetetive, but together they create an atmosphere that is hard to come by without that certain feature. This album is, however, one of the less crazy and more atmosphere-oriented pieces he’s put out yet. Now it sounds like a mix in between beats, psychedelic environments and some kind of drumstep – closely attached to a d’n’b kind of thing. Mix that with the regularity of trip-hop and what crazy vibes you’d get from that particular sphere of music. Yes, it’s a sample-laden bomb that will blow your speakers out, but at least listen to the baselines and quirky rhythms that form together with one another, to create an intricate melody. Now, we’re ready for what the name of this release actually is. It’s “Knowledge Eater“, and with it, Nick Siamas takes his Midnight Smack project to a whole other level. Stream it freely down below and enjoy. You can also download the whole shebang for free.

Some questions for Yöri Bjártsdóttir!

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Yöri Bjártsdóttir, or Yöri, is an Icelandic/Lithuanian artist that delves knee-deep into trip-hop mixed with danceable industrial. Earlier this year, she released her first EP titled “Capsule EP“, which was produced by Andrew Means, whom also goes by the moniker of “H3X3N” – a dark electronica project. Together with Yöri, they produce some of the most wonderful pieces of crossover electronica that have been put out there, lately. With his production skills and her wonderful voice – they’re a match made in heaven. I found Yöri on the forum Violent Playground and decided it was time to introduce her to a wider audience. So, therefore I sent her a couple of questions which she answered. You’ll get to know everything about the intent of her music, what it means and also the fact that she’s collaborating with H3X3N on a new album that will come out sooner or later. Tune in!

Now, I know virtually nothing about you. More then that you’ve just released your EP titled “Capsule EP” a month ago or so. Where you mix trip-hop glitching with industrial dance music. The common denominator, at least when listening to the track “Jupiter”, influence-wise – would be Björk! It makes sense, since it seems like you’re from Iceland. But who are you and why did you embark upon making this kind of music?

– Surprisingly enough I was never a follower of Björk, don’t know why. I’m only half icelandic, the other half Lithuanian and have absorbed both cultures while growing up. I’ve been singing before I could talk and was very excited to make my debut as an electronic musician. I just basically didn’t want to make a record that has been done before. What happened was just a very beautiful musical affair between me and my producer, H3X3N/Andrew Means, doing things that we felt were right and sounded even better.

Oh and also, as much as I can appreciate her talent, for some reason I just never found my way to her music. Being compared to someone as talented as her is a very big compliment in itself and I appreciate it. I would just rather be the first Yori than the “next Björk“.

How did you and H3X3N (Andrew Means) go by when you both began to work on your debut-EP, and was it always clear to you that the music you’d be putting out there would be within the sphere of electronica?

– We kind of went from song to song, not really knowing what was going to happen next. It was an improvise-like process, very introspective. When recording, you really have to be two people. One, a teenager who does all these things unconsciously and fucks up from time to time, doing things for no apparent reason, and the adult – the other half which is always trying to rescue the other one when she gets in those situations. It’s almost like setting up a trap and organizing an accident. You put all these sounds together, gather all these ideas and then you have to sort them out.

Did you ever feel like it could’ve been more then an EP, or did you want to compromise it everything into that particular format? Have you stored away songs for future purposes?

– Um, well, it definitely wasn’t a compromise, we just felt like we’d rather start out with a 6-track EP. Yes! As a matter of fact we have a lot planned, my next release, “In Dreams” will be a 5 track EP, with a more washed out, romantic, afrobeat dreamwave house brew. That was a lot of adjectives but it does the job. Love songs tinged with oceanic feeling. It will also be more lyric-based.

Speaking of lyrics, the song you put up titled “North” was inspired by “an ogress called Gryla”. Could you elaborate? Also, what influences you?

– Gryla is part of Icelandic mythology, she is a lonely ogress who lives in the mountains and eats kids that don’t believe in Christmas. A friend of mine is working on a project about her and it was my job to contribute the music for it, so we adapted a version of it for a track. I think of pop’s boundaries to be elastic. It’s like a thunderstorm building up inside me. I think of songwriting almost as a survival instinct. Different people do different things to deal with their problems, I sing. If I dont do it, I start to suffocate. Anything can be full of inspiration if you look deep enough, a crystal, your friends, mathematics, a wind that won’t stop beating you up, a certain taste. What both inspires me and turns me on the most is mystery and the unknown.

And that’s what Capsule was, it was staring into the abyss and having the abyss stare back.

So, one could certainly say that you’re influenced by Nietzsche? That’s interesting. It seems like some of your aesthetics (besides H3X3N as a producer) adhere to witch house, which seem to have somewhat of a “naive”, but pseudo-nihilistic aesthetic to it. Do you have any relation to witch house as such, or do you simply consider the apparent genres that you tag yourself with?

– Definitely not Nietzsche, that’s overstepping it a bit. It’s not nihilistic per say, it’s just the hunger for jumping into the unknown. Jumping off that metaphorical cliff and challenging yourself. I don’t have much to say about witch-house, as I didn’t even know of it before the release of Capsule. I guess I’d classify myself as trip hop, industrial.

Well, it seems like I’m going to wrap this up. Thank you for answering these questions, the word’s yours now!

– As a finishing side-note, I’d like to just state that I wouldn’t be where I am today if it weren’t for my extremely talented producer H3X3N, and that everyone should check out his music.

Listen to Yöri perform on her debut-EP “Capsule” down below. Do also pay some heed to H3X3N, her producer. Delve into their world. But, do also check out the SKVM remix of her track “Coma“.

Darklight: Last Light – Last Light

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I’ll have to admit, I’m not an innocent human being. When it comes to trip-hop, I mostly despise it. But when it’s combined with other genres, such as darker electronica like coldwave or industrial – I will be hooked immediately, if it’s properly executed. This is Last Light, they’re a duo consisting of Laura Boland and Jeremy Moss, whom are currently situated in Brooklyn. They released their self-titled debutalbum “Last Light” two months ago. Unfortunately for you, I didn’t find it until now. It feels like they’re a part of a wider spectrum, or a wave if you’d like to call it that – which has (mostly) been brought upon us from the US. These minimalistic torches that have been carried from the East to the West in the US, slowly making their way to Europe – landing in Northern Europe, this time around. What differs, is that they blend in trip-hop in the mix. The sincere and whispering voice of Laura Boland is enough to have you hooked for hours. Simply by listening to the blistering synthesizers revolving around her or Jeremy Moss. But I most concur, she’s a part of the wonderfully esoteric machinery of darkness, which can be felt by the stinging of a wrecking arpeggio that slices your heart in parts. Look no further, because this might also be the uniform split between the heavy electronics and more classical vocals. At times, however, it feels like the abomination that is and has been some of the dark electro – for a long time. If you ignore that part, in some of the songs, it’s actually a memorable album which will take you to new heights. I know that there’s a lot out there right now, but this one is a given if you want to stir the potpurri of influences a bit. So take a listen, because it’s definitely worth it, seven times over. The release features five songs and was released by themselves on the 18th of March.

Mercimer är ett välkomnat elektroniskt tillskott!

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När man har lyssnat på elektronisk musik till förbannelse, så är det svårt att undgå någonting som sticker ut. Med tanke på att den svenske electronica-producenten Walter Bergs alias Mercimer har spottat ur sig en hyfsad låt på sistone, tillsammans med Lisa Gagermans undersköna stämma – så är det nästan fritt fram att inta, i sin dagliga musikaliska bespisning. Nu är det så att han har släppt sin debut-EP “Leagues EP“, den 16:e April, på samma bolag där han släppte den redan nämnda låten “Walk At Night“, nämligen på det Norska bolaget A New Direction. Här får vi bekanta oss med trip-hop, sammanblandat med chillout och ett släng med ambient. Allting är möjligt, så även denna gång. Lisa Gagerman gästar även ytterligare en låt, som heter “It’s A Fire“. Samtidigt så samarbetar han även med en annan svensk electronica-producent på låten “I’m a saw“, vars namn är Alexander Eldefors, som skapar elektronisk musik under aliaset Yellus. Skillnaden mellan då och nu, är att de mainstreamtendenser som märktes av i den första låten som han släpptes, har släppt taget om honom. Inte helt och hållet, men mer än innan. Detta gör att det blir lättare för honom att släppa sargen och komma in i matchen, och det gör han med en gnutta briljans – just det startskott som behövs för att löpa hela linan ut, i ett senare skede.