Mixtape: DJ Snugglez – Vandringar Bland Allt

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Something really weird happened to me today. I got this mail by someone who calls himself/herself “DJ Snugglez“, who said that he wanted to submit a mixtape. Well, I know for one that I haven’t really gotten the offering to put up a mixtape as such by anyone, really. So it was really a surprise to me that whoever this individual may be, actually bothered to send me this. But you know what? I was really impressed when I listened through it. Everything seemed to fit into the formula of this blog very well, even though I don’t limit my acceptance to boundaries that can be called “genres“. Anything that sounds good to me, will do on Invisible Guy. It would seem like this guy, or girl for that matter – might fit into the experimental scene of Sweden. Because the name itself doesn’t give me any hints, but when it comes to the title of the mixtape; “Vandringar Bland Allt” (Wanderings Among Everything), it would suggest that it would be something that could neatly fit into Zeon Light Kassett or something like it. Well, I decided to put it up for you people to enjoy. It contains a lot of different tracks that would’ve seldom fit together, but somehow they do fit on this mixtape. Everything from the most obscure stuff, like Japanese post-punk(?) and some old-school Gabber – to the likes of powerviolence-esque hardcore. Enough talking, let’s get with the program. The tracklist he/she sent me with the mixtape can be found below, and the mixtape can be listened to – down below as well. A lot of great music that I’ve never heard before, and you probably haven’t either.

1. Image Of Life – Weight Loss In Wartime
2. Automatic Writing – Continous
3. The Carjackers – Funky Beat
4. German Army – Lost In A Canyone
5. Youth Code – Sick Skinned
6. Vicious Fish – Not Fade Away
7. Mark Lane – White Glove
8. The Keffat Liv – Snorungarnas Hämnare (Jenni Jenni)
9. Saqqara Dogs – Splatter Dance
10. Vini Reilly – Misere
11. I Spartacus – The House Of Sparto
12. Zana – On
13. Nasa – Paula
14. Passions Of A Primitif – I Move
15. Surrealistic Men – Modern Packs
16. Cyclopede – Your Family
17. First Blood – Next Time I See You You’re Dead
18. Fix – In This Town
19. Nightmare Fortress – Anxiety
20. The Kilimanjaro Darkjazz Ensemble – Adaptation of the Koto Song (Live)
21. R.A.M.B.O. – The War On Self Esteem
22. The Opposition – Moving Targets
23. Berntholer – Emotions

DJ Snugglez – Vandringar Bland Allt

* I’m not that technical, so I don’t know how to embed the Mixcloud-link. So just click the link and you’ll hear his/her mixtape.

Spotlight: Peter The Roman – Printer Silicone Machine

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If I could be a Roman for a day, something would change in every way. His name would be designated, I would be elevated and everything would certainly be electronica-related. This man is Peter The Roman and he’s a new man in this world of three-dimensional sounds, equipped with a repetitive and snarky responsiveness, musically. His latest release “Printer Silicone Machine“, could be everything in this world that you’d want to hear. Besides the fact that it’s pretty repetitive, it’s also monolithic to an extent and what I would envision myself doing musically, actually. Not in this shape, maybe, but where the sounds aren’t that predictable – and weigh a heavy amount of tonnes. At times you’ll hear some nostalgic vibes, but it’s original in the manner that the warmth exhilarated from the body of the electronica is sincere at the top, but wondrous “down below“. It might not seek anything below the underground, but he certainly has ambitions at times. However, it’s noticeable that it stems from an experimental waypath that he has embarked upon. Among all the jibberish samples, there’s a little hint of everything that makes electronica what it is. Or, at least – how it should be. I find it odd, but I enjoy it when it doesn’t set me offbeat. The album features ten songs and you can download two of them for free. It was probably released D.I.Y., by himself.

Review: White Blush – S/T

3645117286-1A newly conjured and dreamy landscape with dark pop. With the first song “True Luv” Carol Ryu expands the thoughtfulness of catchy pop-tunes, to be something more than just fluffy dreams and fantasies. This melancholic piece of coated pop is more than someone could handle, reminding me of a Ladytron mixed up with Crystal Castles with a pinch of Cocteau Twins. Her soft-spoken and gentle voice is a stark reminder of the contrast between the sound-scape and herself, putting it at a distance between them both and a cutting point only a needle could pinch through. Even though they’re remote, they’re close to each other. On the other hand, the dreaminess of the sound-scape and the sharp edges mildly resemble a nightmare with a light in the end of the tunnel. Not really an apocalyptic scenario, but by far something sinister. It might be a little bit minimalistic at heart, but it holds a greater width inside. Where the more ambient and dreamy pop surge throughout the body of the peculiar (yet not unreasonable) mixture.

Furthermore, the next song titled “Mirror” might just be the antithesis of the first song. Where the softer and more dreamy elements have been put in the foreground, with an electronic arpeggio running straight through it. The reverb used on Carol Ryu‘s voice also clings through the sound-scape with the percussion, which gives the listener a gloomy feeling, and a lush one too. Even though the voice might be a little bit too much beneath the surface and the instrumentation a bit louder, the general lyrical content is as fitting as ever. It feels as if it’s something you should try to decrypt, as if it leaves a message cut into pieces, for you to pluck together and make something out of. All the sublime elements of this song make it special and drive everything creative out, just to insert it in different parts of the song. Sometimes the more quirky synths can be a little too much, but everything else is on point. There’s a lot of things that are great about this songs and some that could be improved, like removing the weird “8-bit” synth in the garbage can, together with all its screeching.

Whilst the next song “Jolene” takes on a more ballad-oriented and genuine nostalgic pop-sound, the percussion is still doing its job. Definitely one of the strongest cards yet, as the melodies and the rhythms all entwine and create a bombastic yet dreamy sound-scape, almost bordering to ambient. The lushness of her voice is almost indescribable, but trying to describe it would be like opening your finest bottle of champagne and taking a sip from it. Then resting in your chair in front of an open fire. A luxurious endeavor not meant to be exposed for us less fortunate. But yet, inviting us in with a smile on the face and giving us high-quality art. As I’ve said in earlier reviews, there’s something about a girl’s name being the title of a song, it almost always turns out to be one of the stronger songs on those albums. Also, the mix of down-tempo and somewhat up-tempo electronica, makes for a wonderful mix that can keep rolling for all I care.

Every album also needs an intermission song, which “Wait” is a symptom of. Nothing bad with that, I enjoy a little bit of rest before punching the alarm clock and moving on. Here, it’s also noticeable how a strong yet lush voice can give a sound-scape that extra feeling of grandeur. It’s like an instrument in its own way, of course and if you a little bit of watery reverb on it, there’s something going to come out of it. The result is very much a lo-fi, down-tempo and angelic experience nobody should be without. Like sitting in an empty church by yourself, hearing the wonderful voice of someone who can hold it out long enough for it to be strong. Filling up the space with a lot of wonderfully interpretative motions in and of sound. The stripped down sound is minimalistic and enthralling enough to put it on once again, just to enjoy the wonderful sound of a singer’s voice that is on par with the sound itself.

But here, something changes. With the next song titled “808 Myst“, the chilling effects of a darkwave-oriented pop mystery unleashes its thorns. The sound is very much a confusing and bedazzling one, which keeps itself in your mind, yet reminds you awfully a lot of white noise. There’s something for everybody to fetch here. Sheer ambiance, scary darkwave or mysteriously harsh melancholy. Almost gaining a little bit more confidence to call itself dark ambient. At times, the swooping yet steady sound is crushing the inside of your skull, while releasing enough pressure to keep you listening to it. There’s always some pressure in this song, which quenches the thirst to hear it once more. Its notion is also radically different from anything I’ve heard on this album, which is a little bit confusing, but maybe not surprising. Because there’s certainly a darker vein to some of the songs, which just happened to escalate into something beyond the pop notion that it has been involved with throughout.

Which makes us delve into the last track on the album. It’s titled “Juice of My Heart” and contains the same elements as the aforementioned song. Instead of reminding me of some dark ambient mixed with crushing power electronics/darkwave, or something in that manner, it reminds me of some heartfelt movie soundtrack of the 80’s. The pulsating percussion, the lo-fi sounding elegance and the glamorous environment it revolves around. If someone would’ve told me anything about it, I would’ve picked a movie like Top Gun for it to be in. Even though it might not be as bombastic or in-your-face as Berlin’s song, it might actually have been featured in anyone of those movies if it had came out in those days. I think this album is great and also one of the reasons I wouldn’t shy away from the dream-pop genre. It’s got all the necessary things to keep it afloat, and it actually brings something more to the table than reverb-drenched nonsense being spewed out together with boring electronica. You should listen it through and make up your own mind, but I would like to recommend it.

Review: Kabul Golf Club – Le Bal Du Rat Mort

Le-Bal-Du-Rat-MortA concoction of the best math-rock with the best punk rock, but with a serious lack of steam at times. There’s an odd edge to this band that I really like, as I start listening to their first track “Bits Of Freedom” which stumble into my ears, amidst swooping gestures. There’s a really hard edge to the song, assisted by breakdowns that pump blood into the heart of a forgotten sound. Every time you hear it, there’s a sense of apathy coming your way as the punk-influences ravage everything in their way. No where to be found, is the sloppy and disengaged math-rock of yesteryear, which frankly just feeds off of the weirdness of the genre. Instead, the utilization of punk-vibes that bounce throughout the mix make sure that energy flows throughout every sense of the word. It revitalizes the otherwise too frantic sound and packs a punch that would kill your ears instantly. Not that your ears would be in dire need of medical assistance, but they’d be phasing out with the hard sound and racking heads along the way sound-wise, as it re-wires itself, going through every stem of each braincell. So if you ever wanted to cool off, you’ll have to do it with the next song “Minus 45“, as it freezes your whole body. There’s much more of the math-rock, more of the weirdness and the sense of total fatigue.

The gritty and high-pitched noise that pretty much sounds like a siren, cleaves my head into two parts. One part likes it and the other one doesn’t. However, they pick up the slack by doing what they do best, combining the energy of punk with math-rock. Even though the downward spiral of the strange sound is getting boring by now, they find a way out from the madness and re-instate their sanity. I don’t really like where the sound is heading, as I’m more of the punk guy. But they’ve got such a unique sound and yet they manage to keep the sound-scape appropriate. They never try too hard, but sometimes it’s just weird. Which takes me to the track “Fastmoving Consumer Goods“, that by its name alone reveals that we’re in for a ride like the one before. I don’t really cope with the sound, since it sounds like a big mess. There are so many influences in here that it makes my head turn around and hopefully I’ll manage to get it going again. I think there’s too much going on at a very slow pace. Since I like up-tempo a little bit more, it becomes boring after the third time around. It just feels like the instrumentation keeps coming at me, but they never reach anywhere deep, where it feels.

A more shallow version of the songs before, which just seems to operate on trying to be something they shouldn’t be. However, the vocals are complimentary in this dire situation, as they keep the vessel afloat for some time before it sinks to the bottom once again. It’s not horrid, it’s not disengaging – it’s just a little bit on the strange side of things. Which in itself might not be a bad thing, but in this case, surely is. I wouldn’t say that the next track “5 Minutes 2 Midnight” is the same, but there’s a lack of the obvious punk-influences. This is as if Lydia Lunch (when she did some no-wave) would march in and take control over some generic post-punk band and smash in some psychedelic vocals at that. I must say that the vocals are what keeps this song alive as well. The singer has got energy and packs the punch that I heard earlier, which makes it much more intriguing to listen to. There is something about his voice that complements the music as well, I just hope that the music can complement itself and take a step away from the noisy math-rock.

However, the last song “Demon Days“, is where its at. I feel like they’re at the height of their musical endeavor on this record, because it packs the necessary punch to the pancreas that Kabul Golf Club have concocted. Certainly one of the better songs on this album, since they use the punk-influences a little bit better and blend the good math-rock vibes within. This is a hard-hitter and it’s uncompromising, its also where it should be at when you’re thinking about listening to them. This is really their signature sound, it’s something they should develop further and hold on to. Because, damn, it’s such a fucking great sound. I don’t think I’ve heard anything like it, at least not recently. Good riddance boys, you’ve convinced a blogger to join in on the chant. I must say that the middle half of the album was rather disappointing, but the beginning and the end makes up for the loss of steam.

Released: 2012

Label: Uproar For Veneration – UVF07

Tracklist:

1. Bits Of Freedom

2. Minus 45

3. Fast Moving Consumer Goods

4. 5 Minutes 2 Midnight

5. Demon Days