Exclusive Premiere: Megabreth – In The Mouth Of The Realm

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Stoner-infused and whirly psychedelic rock music is what Megabreth brings us, in this cassette store day release on the label Field Hymns. Their album “Ultra High Noise” is what happens when you experiment in the laboratory of sound, whizzing and spaced out vibes that don’t require you to indulge in a drug-induced epiphany to appreciate. They have a dense ambiguous sound and are not too far flung into the otherworldly.

For cassette-store day this chrome tape, with a 4-panel insert will get you rocking for that utter nonsensical occasion. If there is one day you should be capitalizing on Field Hymns releases, it’s this day. You can ignore the other far-fetched releases that make up this cheap imitation of record store day. Not that anything done for capitalizing on music is necessarily something bad, fortunately for you they managed to get a cassette out.

You get the pleasure to listen to “In The Mouth Of The Realm“, exclusively via Repartiseraren before release on bandcamp. Make sure to support the label by purchasing one of their cassettes; edition of 80. Listen down below. It will be released in full on the 14th of October.

 

 

[17th] December: All Your Sisters – Shame

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Two cassettes in one year. Reverse three years – and you’ve got “Sounds From Friday Evening” – a demo launched directly to Soundcloud by Jordan Morrisson. His project All Your Sisters originated from the dusky Autumn year of 2011, hailing from San Fransisco, it was meant to be much more then a solo-project. From then and on into 2012 things started to brew for real and Mario Armando Ruiz joined in – turning it into a duo. During two years of hard work they had composed what fell into our arms, for our ears, a debut-album recorded between October and November of 2013. It got titled “Modern Failures” and seem to be a statement of how things are in modern society. Romantic words clad in melancholy, with titles such as “A Perfect Body” and “Good Clean Men” cling positively at a first glance—but not for them. Maybe it’s because of the portrayal of how things should be, when they’re not anything remotely close to it. Maybe it’s something else.

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The album have been popular, as seen by how much people seemed to like it, but also because of the number of different labels that had released versions of it, mainly on limited cassettes as Beläten and Young Cubs did. Now Weyrd Son Records are turning it into vinyl, with aesthetically pleasing artwork that in one way or another can be related to All Your Sisters. Their rose was turned into black, on white background. Though the picture of a man’s back seem to suggest what the title “A Perfect Body” did, reflecting on the drapery in front of him – reflecting back on him, for himself to see? Not an unlikely theory. We’re, however, more intrigued about a band that does not wallow in nostalgia—though some of it can actually be pretty darn good. They do make a nice cold-wave themed backdrop associated with post-punk, with a rattly sound-scape and nicely laid vocals that suggest desperation, anger and apathy.

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We’re providing you with a newly produced, unreleased track which they composed for Ljudkalendern. It’s the 17th December and you get to listen to “Shame” – a rather short endeavor; that makes good use of the time they’ve utilized when creating it. There are some fine qualities about it, the long outdrawn riffs that stop before it goes into an intermezzo, sharp and readily available percussion that resounds throughout, a myriad of different baselines, synthesizers and ambitiously entwined riffing which is changed around many times to create a diverse range to it. Listen and stream it exclusively on Repartiseraren.

[16th] December: Yves Malone – Yellow Sweater & Junos

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One of our favorite synthwave acts as of late, Yves Malone, have chosen to grace us with an appearance for Ljudkalendern. For those who don’t know, he’s been featured in three reviews and premieres on Repartiseraren, back when Field Hymns compiled three of his earlier released albums into a box-set of cassettes. Since then he’s also released a separate album called “Ebony Sunrise“, on Orange Milk Records. What’s unique about him is how he manages to transfer soundtrack-music out of the box and into proper synthesized music, instead of it sounding exactly like a soundtrack is to sound – if you’ve ever had that feeling of how you can distinguish between the two. Which we’ve had plenty of times. That kind of transcendental move is hard to make when you’re not able to think outside of the box, which Yves is certainly very capable of at least musically. There’s always a thin line between. He crosses them all and it resonates throughout the atmospheres of his songs. Even though a box like the one on Field Hymns have a certain purpose, that had been cemented way before it was re-released, we like his craftsmanship and ambition when it comes to layering synthesizers over one another, creating a heavenly output for both dismay and happiness. Both rhythm, overlapping textures of synthesizers and melodies are important building blocks for his music. We don’t know how he so carelessly pulls all of this off.

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For Ljudkalendern it was originally intended to be an already produced song he had stashed away, from somewhere. As we haven’t had the time to write freely as we’ve wished, we therefore asked Mr. Yves for a concoction that would be linear in theme, but irregular when it comes to the music. Well, maybe not that structured. We proposed that he should produce a completely new track and out came two. Two different tracks both in general atmosphere, but also because one of them, “Yellow Sweater” is more beat and rhythm-oriented, whilst “Junos” take an upper-hand when it comes to perfectly laid melodies that make the whole thing a lot funkier. In a way we’re reminded of a synthwave Group Rhoda, if there ever would be one. A tropical rhythm with playing synthesizers that act as triggers for the rhythm in some cases, but when the melodies come together and shape a grandiose melody everything starts to roll down the hill and become even more exciting. First it fades out, feels like it is rebooting and slowly builds up a baseline that holds up the melodic construction. We give you these two newly procued tracks to stream exclusively for Ljudkalendern and the 16th December – on Repartiseraren!

[14th|15th] December: STURQEN & Zex Model!

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raiaFrom the beginning there was “Raia” – third album STURQEN ever put out, self-released and all. A calmer more abstract release as opposed to “Peste” and “Colera“—two digital Eps discharged into oblivion, a Yin & Yang of total resignation. Also featured as physical editions in Cdr. With their third album they formed a pattern of recognition. They seemed to have wanted to step into paradise for one last time, before heading back from a retro-perspective “Praga” and “Pirahna“—their first and second album. The meaning of “Raia” is ‘Batoidea’ – which is the taxonomical (biological) super-order of rays, more specifically a cartilaginous marine fish which means that they, like sharks, have no bones in their body. These mammals are not the kings of the sea but they’re close to being. We think of manta rays – these huge rays that carelessly patrol the depths of open seas.

When you read the titles, they’re inspired by everything from the native ecosystem of Portugal – to Johannes Kepler, candelabras, mountains, CD’s, and Canary birds – a reference to Canary Islands? Also might be because “Canário sound like a chirping bird. Every song on the album seem to be an interpretation musically, also of linguistical importance title-wise – through genres STURQEN like to be associated with—or by accident. They break from this gateway completely with “NEOPHOBIA“, as they seal their original intentions in a box not to be opened again until it’s time.

neophobiaNeophobia seems to be a complete anti-thesis, full-on rhythmic noise techno experience, higher frequencies and a dystopic vision of the future for Mother Earth. The term ‘neophobia‘ can be summarized as: “a phobia for anything new“, in this case a disintegration musically – disseminating the “post-industrial“—specifically a technologically maddening, freakishly abundant, information society in which nothing has any meaning no more.

The world is entering a state of emergency, alarms sound nearby and everything is organized for resistance. Or might it be Earth rejecting its own organic structure? We hear a militarized sound, a call to war, in “Justo“, a machinated process rebooting and aircrafts lifting in “Ateus” – consisting of minimal analog instrumentation; distorted rhythmic sounds and a harsh beat. Just to mention two contrasting examples from NEOPHOBIA. Same theme – different characteristics and takes on a subject we yet have to uncover—perfect time for a thorough investigation.

What resonated with me the most visually was the edgy and spot on music-video for “Toxinas” – a song clenched from their third album “NEOPHOBIA“, released on the Ukrainian label Kvitnu, in 2013. The sport of fencing was suited perfectly with the experimental rhythmic noise David Arantes and César Rodrigues of STURQEN produce. Though we’re not impressed by how the elegant sport of fencing is portrayed as if it were post-mortem. Though it can be interpreted in different ways as was our first understanding of the music-video accompanying the song as some kind of tribute, but the more we think about it – the less plausible that theory becomes.

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Now when they’ve been accustomed—to such a wide degree of change, they settle in with an unreleased track for Repartiseraren own non-commercial collection Ljudkalendern. It’s titled “Pidde” and will remind you more about their debut-album “Piranha” than anything else. At least that’s how we hear it when listening to the song. A diffuse, experimental noise atmosphere that quickly fades in with a thrusting buzz, but stinging poisonous touch which decays – as the machine wheezes out its last steam, the same day the industrial workplace is shut down to pleasure the coming post-industrialists. Listen to the 14th December exclusive premiere of the earlier unreleased song “Pidde“.

 

dark-myth-ankoku-shinwa-takeshi-servant-of-brahman-and-god-of-darkness-susanoah-oh-eight-armed-horse-lotusZex Model is back once again, with a new track for Ljudkalendern. It’s titled “Ankoku Shinwa” and is influenced by the Anime-serie with the same name – which is synonymous to: “The Dark Myth,” original title in Japanese: 暗黒神話. In short the series revolve around prehistoric Gods from Japanese mythology, whose presence in the early days of Japan had a task to protect their sworn secrets—hidden in modern society. Since darkness is beckoning, the Kikuchi Clan have seen the warning and are ready to fight the spirits of the mythological creatures. The main character—a boy who tames the powers of the gods, could be the embodiment of the boys’ spirit in this song. A protagonist who does his utmost to defeat those who wish to do harm.

The religious Croatian christian orthodox chanting, might be a direct translation of the Kikuchi Clan warning about impending darkness—as his own voice, heavily distorted, out of the blue descends; to affright the listener. You hear a better, more improved version of the Zex (Model), as he rips up a wind of nostalgia, reminding us about some kind of crossover between Brigade Werther and other such experimental, borderline electronic body music, industrial acts. His inspiration from Anime is not to be taken lightly, as it gives a depth to the influence of this particular track. Not to mention his other discography. It feels like he’s found his spot and continually develop, so it can hopefully bloom out and become something unique.

He delivered a newly produced and unreleased track which everyone should listen to. It’s a step away from his electronic body music with a multitude of samples, focusing on fewer samples and entrenching his own distorted vocals. His contribution to Ljudkalendern may have more inspiration from elsewhere, but it mainly comes from that Japanese anime-serie. For the 15th December you can enjoy everything about a new model, not by any means finished, but a prototype.

[13th] December: Acapulco City Hunters – Chaser

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Acapulco. A Mexican municipality but mainly a city, with as many as 234 communities—the most populous being Acapulco itself—with 673 479 inhabitants as of 2010, 85,25% of the people reside in the city. When counting the most populous cities except the main one, which are: Xaltianguis, Kilómetro 30, Tres Palos, San Pedro las Playas, Amatillo—the population combined account for 3,25% of the whole municipality, making it 25857 inhabitants in total, one starts to wonder where the rest of the 11,5% have gone. Where are the other cities? Are there smaller towns, considering there are so many communities? Questions remained unanswered. Here are when Acapulco City Hunters come in – it seems like they’re looking for an answer to that question. Maybe they’re straying away, in metaphors and synonyms, but they’re probably concerned.

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Or maybe, just maybe – we’ve been tricked by these con-artists. Making us think of Mexico as the main inspiration for their name, specifically related to the aforementioned questions, but it can also mean “Goin’ to Acapulco“—a track from “Dylan Basement Tapes” (1976), and I paraphrase from an outtake from Sid Griffin’s book “Million Dollar Bash” – from the source Shelton, Robert (1986)—music-journalist Clinton Heylin commented on its sexual innuendo: …featuring the usual debauched narrator, rambunctious harmonies, and euphemistic ribaldry according to Wikipedia. We can see how both sexual innuendos are fitted in a musical environment, influenced or not by either Sid Griffin’s book, Basement Tapes, or Mexico’s ‘lost’ cities and/or communities. A lot of the topics seem to suggest a strong influence of either everything – or simply one of the things listed above.

It’s interesting to note how Acapulco City Hunters is in plural, though other things like ‘his’ patchwork blog “Cosmic Beam“—suggests otherwise. Maybe since the Facebook-page is categorized as a “Community“, rather than an Artist-page, could reveal certain other possible theories. Pluralis it is because it suits the influences for ‘his’ project. If you get the reference we’re trying to make here, you’ve got a good sense of detail. The music-making dates back two years, from when he released “Haunted Bombai“—later to have a remix of the song by “DYSWIL“—filmed by Thomas Skrobek. Apparently a collective (now defunct?) named: “Negative Beat“. One of the actors’ names (Juliette Mellard) suggest that it really is a project born and based in France—collecting individual influences elsewhere.

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He’s also done a good rendition of; Marianne Faithfull‘s “Broken English“, originally released on LP in the UK 1979, via Island Records—now a sub-division to Universal Music Group. Though we’re not enthusiasts of Marianne’s intonation – we respect and understand such an immense contribution to England’s—and the world’s—music-life that she, and her discography have revealed throughout the years. With added minimalist synthesizers and a stripped-down not as extravagant atmosphere, Acapulco City Hunters make me like “Broken English“, and take the song for what it is – albeit in a completely new way. We must say that nothing beats an original, not even an original you’re not so delighted to hear in the first place, but they do a perfectly okay effort. We’re sorry to say that the bleep-synthesizer sound is too loud, which takes away part of the experience of listening.

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Now I won’t go any further into his discography, more than note that I have written about the split he did with Luminance, titled “The Cold Rush“. Sure, most of it sounds alike when listening through once in a while, but there are certain characteristics that Acapulco City Hunters had developed—that I heard when I had listened to it for a while. We prefer when he doesn’t overcharge on his ethnic vibes. When he keeps it nice and tidy, melodically ambitious and switches between different modes of electronica – is when he’s at his peak. This was exactly what he did with that release. Ironically enough he sings about evolution in “Magdalena” and evolved he has—at least musically. Recently, he also was featured in a track he did together with Luminance—on the “The Broken Window Theory“—a newly released compilation on Wool-E Records.

For Ljudkalendern he gives us, on the 13th December, unfortunately with a delayed article, a song titled “Chaser” – which might actually be the musical hunt for Acapulco. It seems to be something defining him, at the same time cranking up the tempo to maximum—making way for a spastic and erratic synthesizer-driven track. It’s a newly produced song for the purpose of this non-commercial collection – not compilation. We hope that you’ll take a bit of his musical concept with you in your thoughts after you’ve heard it—as delicate as it is forceful.

[12th] December: Bombardier – In Ecstacy

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2013 was the year we found out about Jason Snell‘s music. We had been mindlessly browsing Bandcamp for something to write about for my Showcase – a series of articles I ran – when my blog-zine had a completely different name. A scene plays up in ones head, an abandoned empty industrial workshop, hammers resounding as a fragmented memory of times’ past—exactly how Bombardier came in; one threatening step – and a barrage of well-produced, heavy techno was unleashed. All it took was a single track to get oneself hooked, it came as a lone-wolf released by the New York label Division 13. Even though much of it remained a vague, entertained thought left on a metaphorical loft—we have not forgotten his music and how it thoroughly cleaned our system; fed up on bland and uninteresting cliches strewn across the genre called Techno.

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Though Jason’s first project is Bombardier, which emerged in 1999 with the self-released album “Haine Collective“, he’s maintained different monikers, like for example (The) 13th Hour – primarily an industrial project – extending it’s tentacles pinning them to rhythmic noise and in some aspects even hardcore. First release being a triple-split released on the same label; Division 13, in 2002, with the industrial project, his main project Bombardier and a third side-project called: Kamphetamine. One can not accuse him of coming from nowhere – it’s noticeable that he’s been around for a while, because you can hear it reflected in the skill, ambition and sheer expertise – in creating solid music; classified in so many different genres and styles. So when an opportunity arose to continue writing about him, since he’s wished us to cover releases we hadn’t the time to cover, we took action and were able to put him into a perfect place—a project originally secret and planned since way back—finally materialized the 1st of December.

It’s not what you’d usually hear from this man, it’s not the style we vaguely remembered, it’s a style developed from releases “Absolution” (w/ Mahr) and “Nowhere“. So now he’s completely turned his side on the more concentrated, beat-oriented style he’s refined since many years back, tending to a softer and more ambiguous genre—Ambient. For the 12th of December we exclusively premiered an unreleased and newly produced song by Bombardier, titled “In Ecstacy“—which you were able to pre-listen to before an article ever was written. We sincerely apologize for it turning up so late, but here it is and you mustn’t ignore this wonderful track. It will draw you into a finely woven atmosphere. Here’s for Ljudkalendern and the 12th of December—let’s skip the darn poem—listen to this musical poetry instead.

Strömma Exklusivt: Dödsvarg – Glädjedödaren

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Ut från det tomma intet kommer en varg som representerar den karga verkligheten. Med hinkvis av det osande hat mot livets tristess som det mänskliga släktet vant sig vid, tittar de bortgångnas baneman ut från skuggorna. Ett djur mer fasansfullt än det hemskaste din egen fantasi kan uppbringa. Denna best är frammanad av Jon Ekström, eftersom att det är hans soloprojekt, går under namnet: Dödsvarg. Med de basala drifterna tillfredsställda, garderar sig denna helvetes uppkomling genom att dra influenser vitt och brett, utan att för den delen låta det påverka hans uppdrag—att alltid skräda ljudbilden till minsta beståndsdel. För två månader sedan släppte han en trippelsjua, där alla hans EP’s fick plats under samlingsnamnet “Människan är en ruttnande process“—inkluderar “Total System Collapse. Fuck!” (2012), “Om det där med omänskliga relationer” (2013), och “Slaget om alltings jävighet“—plus en helt ny bonuslåt vid namn “Anställd som underställd“.

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Det som intresserar med Jon Ekström och hans musik är att han just nu, åtminstone i Sverige, är ensam om att skapa något som kan sammanfattas som oljudsframkallande “industriell metal“. Ännu intressantare är hur man kan lyckas med detta umbärande när man bara är en person som i stort sett sköter all inspelning, av alla instrument, med få undantag ersatta på vissa låtar där han samarbetat med andra. Men det är oftast på fåtalet låtar och då handlar det om ett instrument eller en strupsångare som ersätter hans karaktäristiska—men plågade—underjordsvrålande. Om man bestämde sig för att förbeställa de fysiska vinylskivorna så fick man ett album på köpet, ett osläppt album som varit färdiginspelat sedan länge men som enstaka personer fick ta del av som tack för mödan; att de skramlat ihop pengar till att betala för sig.

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På detta släpp har Jon Ekström samarbetat vitt och brett, bland annat med två sångare och en rappare, varav en sångare som täcker upp för honom själv i en låt, medan de andra fått ta över med sina sångröster helt och hållet på de låtar som varit designerade för dem. Utöver allt detta så har han tagit hjälp av två trummisar, en som trummar för en sång rakt igenom och en annan som kompletterar Jon Ekströms trummande. Alla dessa personer är namngivna: Jens Ekelin,  Primatho, Samuel Skoog, David Flood och Hector Sjölund Peinado Peña. Visst kan man tycka att det är spännande med samarbeten till en viss grad, men när ett släpp är så fullständigt infekterat av samarbeten så blir man rätt motvillig inför lyssnandet. Särskilt eftersom att Jon sköter det musikaliska så bra annars, men det ska sägas att det går att genomlida med råge, eftersom att de bidragande musikerna faktiskt lägger till ytterligare en dimension till annars jävligt välsvarvad och bra musik.

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Eftersom att det är tolv dagar tills Jon Ekström släpper detta tidigare exklusiva och otillgängliga släpp, i sin helhet via sin Bandcamp så fick Repartiseraren en exklusiv förhandsströmning av albumet så att ni kan lyssna till de härliga tonerna av världens undergång; och en näve eller två för mycket nihilism. Plattan består av elva låtar, varav “Slutet“, “I Kolgruvorna” och “Satan” förblir Jon Ekströms egna alster, då alla andra innefattar ett samarbete eller två. Allting har spelats in av Dödsvarg och även mixats av honom, omslaget har även tillfallit honom att skapa. Mastering skötte Audiosiege ypperligt som vanligt. Hoppas att ni tycker om detta album lika mycket som jag gjorde. Om ni inte gör det, så går det alltid att spela albumet en gång till—jag lovar att ni kommer att fastna efter sjätte gången, eller tidigare. Njut av den karga nihilismens stålhätta, vars totala misantropi tar sönder dig inifrån.