Listen: MetaMorphosys – Out Of The Picture

Not searching for something special, I came across a wild concoction of old-school sounding industrial. It’s not what you would expect from yesteryear’s version of it, but rather with an electronic body wrapping and an experimental setting. Frantic beats with electronically wired melodies and an unpolished exterior is exactly what MetaMorphosys is. Besides being the alter-ego of Cory Tucker, it’s also his playground for experimenting with an industrial sound. His album; “Out Of The Picture” was originally recorded back in 2013, but have been re-furnished as “Version 2” and re-released. The simpleness of the rhythms are paired with an analogue sound you’d simply dream of setting up yourself. This is something I would expect to come out of Nostilevo, except maybe not as melodious or accessible as this actually is. For you electronic body enthusiasts, you might find yourself to be settled in perfectly with his atmosphere. Somewhere along the line besides the general funkiness that can be heard at times, he moves into experimentalism with a noisier-than-thou approach to some tracks that feel like placeholders before an excellent track. Dark melodies shift through an upbeat electronic motion, that cyborgs would’ve envy had they unearthed this album decades from now. Although some of the lyrical content and his vocals sound amateurish enough, it isn’t really that which is keeping me from listening to it. The general sound of his creations are enough to pull me in and stay listening throughout the whole album. You should listen to it yourselves. This album was put out in it’s second version on the 22nd of June by himself. It can also be downloaded for free.

Skördetid [Del 2]: Vågen är slutet – Ingen Våg är bara början!

Tidigare har vi haft med Ingen Våg Kassetter, som även kommer med denna gång. Det handlar om Skördetid, och allt ni behöver veta om deras kassetter kan läsas i första delen av Skördetid. Vi skördade Miljoner Döda, Sandor Rado och Femtekolonnare. Denna gång så skördar vi Solo Archivist-släppet “Present Is Eternally Past” och Miljoner Döda, vars släpp går under namnet; “Ingen väg ut, bara ner“. Med andra ord så är det Ingen Våg 015 och Ingen Våg 016 som lyssnas igenom, denna gång. Det som är mest intressant när man avhandlar mindre skivbolag, är när man inser hur mycket dedikation det egentligen ligger bakom dessa släpp. För merparten av låtarna ligger alltid över nio minuter, och kassetterna fullkomligt skriker D.I.Y.

Det måste även påpekas att det är härligt att upptäcka vad som växer i den underjordiska myllan, när det kommer till Växjö – något man kanske inte upptäckt annars, om man inte fått något intresse visat från det andra hållet. Hur som helst är det sprängfyllt av dystopi, precis som förra gången, men det gömmer sig faktiskt en eller annan överraskning också. I denna del blir det som sagt två styckna recensioner, precis som det var i den förra. Skillnaden är liten, och det är fortfarande låt för låt som gäller när det recenseras. Välkommen till Del 2 av Skördetid, och den andra delen i den mytologiska beskrivelsen utav Ingen Våg Kassetter. Jag hoppas att ni finner stort nöje i att läsa vad som skrivs.

När det kommer till Miljoner Döda så kan man lugnt säga att den här kassetten innehåller det värsta hjärntryck en människa någonsin kunnat tänka sig. Nu åsyftar jag trycket som samlas på hjärnan, när den trycks in med en noisekavalkad så tung att öronen håller på att spräckas. Outhärdligheten har fått ett musikaliskt ansikte endast en minut in av lyssningen, och jag försöker att erinra mig om när jag senast hörde ett sådant extremt klaustrofobiskt ljudlandskap. Det är som om de övergivna industriella giganterna kommit till liv igen, fastän de varit övergivna i flertalet decennier. Den karga Sibiriska tundran som bankar på det ödsliga huset, i form av en järnhand, som levererar musikaliskt snömos till extrem överdrift. Nej, den nästan 19-minuter långa låten kan inte konstateras att var enformig, men det är svårt att pulsa igenom och ta till sig då det bedövande ljudet lämnar en rungande huvudvärk av guds nåde. Även om det finns en hel del komplexa arrangemang i denna låt, så kan jag tyvärr säga att det är väldigt svårt att ta sig till det som kommer ur hörlurarna. Eftersom att man knappt ens kan ta sig igenom de första minuterna. Inte för att det är dåligt, utan för att det är så otroligt extremt att det inte finns utrymme för en hjärna – som inte är byggd av stål – att ta sig till slutet av låten. Dock, efter ett antal plågsamma stunder där “musiken” varit tvungen att stängas av, så finns där ändå någonting som letar sig tillbaka till mig.

Den ensamme arkivisten. Solo Archivist förgyller min dag genom att släppa sol igenom måltäcket. Det känns som någon form av tribalistisk ambient, som ändrar skepnad ju längre in i ljudlandskapet som man kommer. Trots att detta kraftpaket är indelat i olika sektioner, från den flummigaste flöjtmusik till en blandning av karg akustisk folkmusik. Det enda man vet säkert med detta är att det sakta men säkert flyter in i vartannat och lämnar mycket till de experimentella krafterna att få övertaget. Sedan, bara sådär helt plötsligt, så kan allting ändras till en melankolisk noisevagga. Ond bråd död väntar vid hörnet när de långsamma drönarna lagt sina vantar på oljudet som strömmar ur högtalarna. Bubblande och släpiga ljud kan höras längs med ljudkorridoren som istället för att vidga sig, sluter sig och blir klaustrofobisk. Två världar möter varandra mellan varje låt som går. Det låter som om någon har övervintrat i Indien och tagit med sig deras inhemska ljud. Där sådana instrument får spela en större roll än vad som är nödvändigt. Ibland känns det onödigt flummigt att lyssna på och det leder inte direkt någon vart. Man blir inte direkt uppiggad av det heller utan snarare slö i huvudet. Snabbt så ändras det till förmån för det noisekör som man har vant sig vid när det kommer till det andra släppet. Även om det känns hårt till en början så är det snarare dova oljud som hörs mellan de sprakande ljuden som låter väldigt likt leksakspistoler. Det rent av syrliga ljudet som långsamt krånglar sig ur högtalarna är lika segt som polkagris kan vara. Men det är en positiv överraskning emellan varven, även om det inte direkt är musik som tilltalar en själv. Både när det kommer till det rent psykedeliska och när det kommer till noise. Här känns det som om man släppt på klicheérna och bara kört på.

Spotlight: Squieti and Pastel – the Italian D.I.Y!

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.

Exclusive Premiere: Hadewych – Riss

From darkened shamanistic rituals in pre-medieval ages, to the futuristic hopefulness of ritual ambient. Somewhere in between that and if you slice a big portion out of it, you’ll find avant-garde to be a part of their repertoire. Hadewych is just that, somewhere in between the looming avant-gardist ritual ambient, but with undertones of primal rock’n’roll with metal. When their debut-album emerged back in 2007, they were more concentrated on neo-folk then anything else. Somehow, they combined the efforts of their industrialist past maxi-single “Ende” from 2004 with the urge for something new in 2014. Therefore the release I’m about to talk about now have some roots found within it that can be hinted back to their latest release up to date, called “Ēoh” which featured a mix of old rehearsals to proper new tracks. It’s a perfect transition to what’s to be called “Nu“, where they break their old bonds and move forward into the sound which they’ve concocted over the years. It has somehow always been present in one way or another, but simply not been formulated good enough to have been harnessed earlier. Black Horizons is the label they’ve set out to be a part of with their forthcoming release, as it is being put out on a limited cassette by that label. With clever signatures like Hodiamont, Jongen, Scramasax and Lucia. M – Peter Nÿland or Nÿland II as he is credited as on “Ēoh” – have the world at their feet. Some of these members have also contributed to a track on the acclaimed compilation “The Totality Of Death” by Trepaneringsritualen (Thomas Ekelund). So no wonder if any of their influences might’ve been caught up from Thomas Ekelund. Peter Nÿland is also a part of the mysterial duo Distel, which have also garnered their following with releases as “Puur” and “Ultra2012“.

Now when they’re almost ready to be put out on Black Horizons on the 79th release on that label, things looked bright for Repartiseraren. I got the opportunity to pick a track from this three-tracked release, whereas it so happened that I chose the dark side. With that I mean the atmosphere of this track is so baseless yet fluid, as it is backed up with organic instrumentation which is not electronic to the least, or so it seems. A gloomy landscape which is complemented by the whispering of Peter Nÿland and his authoritarian voice. Since it’s featured on the B-Side of this cassette (C18), there’s a notable difference from this one and the other tracks – even though it can be contested that they’re dark too. But this is something difference. The slow build from a drone-ish landscape moving forward with a complex rhythm that suddenly slides through the landscape at a macabre speed – not to be confused with tempo – is enough to love it to your heart’s delight. You can find virtually every piece of equipment and more than that with this track. Everything from classical instruments to different musical instrument you might not find anywhere else. Or not utilized as good. As the wind is breaking through the landscape of sound, I gratefully present to you an exclusive track called “Riss“, a track that will take you into a whole different mood and also play with your sense of belonging. Listen to it exclusively down below and buy it from Black Horizons when it comes out.

Listen: Keluar – Keluar

After having spent my days in another country, on an island, I listened very much to what I got handed to me by Keluar. This was some time before “Vitreum” was due to be out on Desire Records, so that’s precisely what I was listening to. The combination in arms between Sid Lamar of Schwefelgelb and Zoé Zanias of ex-Linea Aspera is such a damn great collision of the best of worlds. Now they’ve just put up their self-titled album release “Keluar“, which combines their both EPs “Ennoea” (the first) and “Vitreum” into one – alongside two bonus tracks “Cleo (Soft Riot Remix)” and “Coralline (Distel Remix)“. Which is a joint release that was also put out by Desire Records. When it comes to their sound, I believe that I am in love. The craftsmanship that both of these people enjoy is formed into a luminescent landscape in a combination of minimal synth, wave and the experimentalism that they themselves put onto it. If you combine that with the strength in melody that new wave gives them, you’ve got a dreamy landscape which shapes the forthcoming lights that shine upon your face – as in a kind of religious experience. Every little detail that is chiseled out is part of a wider array of magnificence. Most of the songs are actually of that caliber that you’d simply want to listen to them over and over again, remembering each tracks unique character. With a little help from the new-beat meets darker electronic body music (but really not), they channel our darker sides and manage to shape a current of volatile electricity that is about to snap and crackle, but then suddenly something else enters the landscape of sound and circumvents that intention.

The lyrical content of this album is also astonishing. Everything blends in well with the form of vocals that Allison Lewis decide to deliver. Sharp contrasts in between outdrawn sighs of lyric content to the almost despaired cries of misanthropy. With the ambiance that creates a shroud of mystery around it, her voice pierces the bubble in which the shroud is covering – showcasing the naked truth from inside – with her clarity and deliverance that signifies what she’s all about. She’s in for it all and can’t wait to strike you down when you least expect it, whether it might be after a crescendo of electronic beats or the suggestive atmosphere delivered with a percussionists precision. I urge you all to buy this album if you really like it, because it might be one of the best albums since Distel entered once again and got their album “Ultra2012” put out on Beläten. Giving me a grip once again to embrace electronica that has that experimental touch and can deliver what it is said to, or even more than what I’m introduced to. You can listen to “Keluar” down below.

Exclusive Premiere: Husbandry – Biralata

In Brooklyn you find a band that has its roots down under, but above the ground they reside with post-punk overtones. With their interesting combination of metal, experimental rock, post-hardcore and post-punk they make way for who they’ve become. Since they haven’t been around for that long, let alone put out anything besides their newly released “Make Room For Waves” EP, it’s great to hear something fresh once in a while. With this comes Husbandry, whose singer sounds like somewhere in between Katzenjammer Kabarett‘s original misanthropic tone and the rather mesmerizing moments with the band reliq. Together with the breakdowns of pro-longed post-hardcore junkies caught in a time-machine. The band itself consists of Carina Zachary, Jordan Usatch, Arnau Bosc and Andrew Gottlieb. The fascinating thing about this release is that it was recorded during a weekend back in April this year, which makes it about a month later that they’re releasing it for the world to listen to.

So I got the opportunity together with Husbandry to put out one of the tracks from this release, on Repartiseraren. The track wasn’t really chosen by me to begin with, but I think it’s their best track on this release by far. Because in it they showcase the greatness of structured post-hardcore with post-punk baselines that soar through the landscape, together with erratic drums that keep the tempo to a max.  Just as they come into some kind of weird medley whereas Carina Zachary with her vocals make it an endurable process to listen to, as it moves back into the sound-scape which they created before. Moving back to the intermezzo once again in another part of the track, making it a very predictable but at the same time unpredictable track. I simply adore the melodies that are laden before me when you’ve taken yourself through it, together with cluttering hi-hats and complex rhythms howling in the background as the vocals feel even more dedicated and soulful. The track chosen for exclusive premiere was “Biralata“, a six-minute long song which you can listen to down below. If you’re interested in buying their album you can go to their Bandcamp.