Exclusive Premiere: Fragrance. – Dust & Disorders EP

There is something charming about Fragrance. – a new and emerging synth-pop artist from France – the solo-project of Matthieu Roche. Not only with the songs he’s produced that we’re exclusively premiering here via Repartiseraren, but also the beauty in the artwork itself for his debut-EP release “Dust & Disorders EP“. It is brave of him as a frenchman to make use of the english language as a vocalist. The result is an emotional trip which takes you from dreamy atmospheres, to bombastic synthesizers coupled with hard bass drums and an almost classical touch in between everything.

One could find some of his broken english to be something that would stop one from listening to the music, but frankly it doesn’t matter. There’s a certain beauty to all the instruments that are applied throughout the songs. No matter what you think about it, one can’t deny that the general theme and thought behind the tracks resonate within, as there’s an lure – it has a red line going throughout, the songs very much pick up where the other one left off.

This is far from ugliness, part of a french synth-pop tradition which is very likeable. The melodies are haunting, the choruses build up an expectation that is then fulfilled in the end. At times the songs get overwhelmingly emotional even for Repartiseraren. Here are five chansons which shouldn’t be left unlistened to. An exclusive premiere granted to us and we’re thankful to be premiering the EP in its entirety here on our independent and underground webzine. Enjoy the sounds that portray a picturesque and emotionally fulfilling trip from everyday life – yet taken from one’s everyday life.

When it comes to the audiovisual experience, we’re very fond of the song titled “Lust For Lights” – here made into a lyric-video. It’s a bit darker then the other songs, and it builds up to be a great song in general, with beautiful bridges and a constant tempo that has instruments added to it and a palette of space and strobelights are the main ingredients of the video itself. A simple but nicely made video.

The release was mastered by Hélène de Thoury at Synth Religion, the marvelous artwork and photography was created by Atelier Belle Lurette. The music itself was composed, written and mixed by Matthieu Roche. You can find him and his music over at FB, SC, YT and BC.

Review: Various Artists – Tag Und Nacht II

Various Artists – Tag Und Nacht II – (Total Black 70)

Tag Und Nacht II is the second compilation that’s been released on and by the Berlinian label Total Black. Representing industrial culture from Berlin and what it has spawned, musically. It is a selection of some of the murkiest, darkest, experimental industrial music that we’ve heard in a while. Starting off with Stark Jorgensen’s (ASCETIC:) solo-project Halv Dröm and the track “Spirabilis VII“.

It’s like threading through a vast landscape, in the night, that’s been bombarded with snow overnight. Something’s lurking in the shadow of the trees right beside you, as the sounds intensify and the noise gets more high-pitched. There’s a constant atmosphere with this song that never really changes, it just pulsates on and on as if it were a part of you – your heart. Moving ever so fast through the snow and avoiding the parts of nature not yet trodden by humans. The more you get into it, the more the noise overshadows and the less picturesque of a landscape of sound there is. The song comes to a halt after five minutes of constant audiovisual terror, wearing off and going into the quiet abyss.

The rhythm goes berserk – “Human Diversity” by Edema Intravenosa is hauled at you, with in-your-face distorted vocals and continuous beat of the drum – this is about as noisy as techno can be. The atmosphere of the song is both claustrophobic and enigmatic, the bass drum is deformed and goes well with the snaredrum and other instruments used. For this song to really shine is when the chorus – or what can be seen as one – comes tumbling in with synthesizers that make the soundscape even sharper. It cuts like a knife to hear the screeching vocals coupled with something that could be reminiscent of electronic body music and electro, and it overlaps the monotonous rhythm, making it even more powerful then it was in the first place. The developing nature of the track is what makes it exciting, and frightening of course, to listen to.

I must admit that I haven’t listened much to Operant (Luna of Instruments Of Discipline, plus August from ASCETIC:), but their song “Mistaken For A Piece Of Thyroid” is as bold as it is noisy, and even though it is a bit slow at the start, it builds up to one of the most massive atmospheres I’ve ever heard in a techno song. Drawing from both the industrial side of it and the minimalistic techno, charging at you with noise at spearpoint. The more Luna’s distorted vocals are present, the more it changes and then ramps up to be a really aggressive and tumultous song. Half-way in you find yourself lost in the different moods it goes through, and every influence they’ve decided to put into it, pays off in the end. A very powerful and intimidating song, just as it should be when it comes to these genres, according to Repartiseraren.

Josef Gaard (Nathan Levenson) is next with his song “Compline” – a more cautious song – but with a strong atmosphere that is both in the foreground and background. When you think the bass drum is going to move into a steady, straight-forward techno-rhythm – it suddenly drifts away into a more unorthodox rhythm. There’s also a pinch of acid thrown into the mix, alongside a wandering industrialized soundscape. Even though there’s almost a constant rhythm, it suddenly goes heavy on the bass and floats out into a unwavering and bombastic atmosphere of sound – making the listening experience even more enjoyable. The way he crafts and pairs these noises, rhythms and constructs a whole world of his own is impressive. A really great track when it comes to everything – there’s really nothing that can strike this one down.

AVM (/ϟ/HUREN/ϟ/ + BLUSH_RESPONSE) also have a place on this, up until now, formidable compilation, with their track “Flesh Riot“. When paired together, the pounding bass drum and fierce rhythms are tweaked until they become the crazy abomination in sound one could expect from such a collaboration. It’s not really that interesting in general as I prefer them as their separate alter-egos, but it is interesting how they’ve managed to create such firm sounds and the only thing one wants is to get away from it. It is menacing to say the least and it gets even heavier and more intense the further in one gets. Sounds tweaked beyond the imaginable, noises to the left and right, forceful industrial techno with regards to nothing and no-one. A constant bombardment of the senses – a constant plague that could drive one insane.

Now here’s a rhythm to dig – Entertainment is the artist – “Club 2020” the song. The minimalism is superb and the thing which grabs a hold of one is the tempramental rhythm. It’s one of those songs that you wouldn’t expect to be where it is and end up somewhere totally different. The eccentric nature of the track is wondrous in its own right even though the samplings tell a different tale – a noisier and more mystical one. A good song on its own and where the compilation itself changes into something different.

MRTVI enter the picture, with the song “Anul Útlimum” – a really odd and experimental vaguely industrial one. There’s more of a classic techno vibe to it and the minimalism in its core slowly proceeds into a secretive atmosphere. As with “Club 2020“, a really short but comprehensive song. It’s a bit everywhere but at the same time caught in a maelstrom of consistent sounds. Creating a bit of a hazy and rhythmic venture which we feel obliged to follow. At the same time that it is unnerving, there’s also a bit of it that is oddly relaxing – as it moves in its own pace and never ceases to stray away  from that straight line – which is: going forward, steadily ahead.

Now here’s the final song on this release, by and of Commercial Tower, titled “Asphalt Animism“. A long-running and ambitious track which paints a really bleak picture. You could call it anti-picturesque, and as the name foretells – there’s an edge to it which can knock you out in seconds – after entering the latter parts of the song. The noises are out of control and smacks you in the head, one after one. Even though it is my least favorite of all the songs on this release, it the brutality one would expect from such a compilation as this one. It just feels like it goes on and on, treading into such monotony. Even after having listened to it a few times, I still can’t get into it. However, to conclude everything: “Tag Und Nacht II” is available cheaply digitally and is a good representation of Berlinian underground industrial, experimental, noise, and techno music. The release was mastered by Frederic Arbour at Cyclic Law. You can stream and buy it via Bandcamp, down below.

Review: Hanchi – The Fabulous Pain

Thoughtful. It is not easy to describe, but each passage is haunting, looming experimental techno left to its own device – creating with “Scottish Fiancée” – a powerful and haunting experience. There is something intimate about it, but also something that rejects – in other words a paradoxical experience, to say the least. Venturing from the bleakest experiences imaginable in sound, to the more humble and concentrated atmospheres that can be heard throughout. As it slowly builds up and creates a rhythm, you’re invited into a determined soundscape that goes through the frost outside, inviting the cold into your living-space. There’s still, however, that distance between you and what you’re currently consuming, sound-wise. Nothing beats the steady rhythm and a time to dream up picturesque, yet horrific scenes in your own mind. It is a great, ever unfolding, mysterious track. 

“Unicorn” is where it gets slightly more aggressive in terms of sound. It feels as if you’re locked away in a dungeon, left with little to no hope. Consumed by feelings of despair, chained and imprisoned. As the weather intensifies and the rain comes pouring down, I must say that Aubry Schaefer’s skills in sound development is becoming slightly more frightening by the minute, especially when listening to this song. It is nowhere near what you would imagine from the title of the song itself. Somewhere near the middle of the song it feels like hope can be found, there’s an escape from all this misery, hopefully it doesn’t end in tragedy – as the sounds intensify, with white noise coming closer and it slowly fading out as the atmosphere is flattened out.

I don’t know what to make of the title “Christian Kaboom“, but it has a medieval style to it and a harsh electronic sound laid upon a steady rhythm. It is probably the most rhythmical song on this release and it takes oneself into a whole other place and time. The atmosphere keeps getting more and more intense – and I admire the sounds that are creatively strewn across the whole sound-scape. The rhythm itself creates a marching sound which is increasingly becoming louder and louder, more and more steadfast – until a horn sounds off and the atmosphere calmens, as if covered by sand or in deep snow. There are resounding pieces of instruments which makes it, for twenty to thirty seconds, into a serene melody. When it fades, the rhythm is bombastically recanted and heavily fortified with bassier sounds. Like the other tracks, it too fades out into nothingness, albeit it being as if it goes away in one or two seconds, faster.

“Missing Black Seagull” is not that interesting of a track even though a lot of the atmosphere is shrouded in mysterious sounds, it doesn’t manage to have the same impact on oneself as the other ones had. This feels more like “more of the same“, unfortunately. Though it had some potential towards the end, it is uninspiring to say the least but it is fittingly the last song of this release so it doesn’t matter as much. All in all it’s a good release with interesting takes on techno. It feels different and Aubry Schaefer is great at modeling the different sounds one hears when listening through the release. The mastering is also on point, as it makes the different elements and sounds noticeable and part of the whole atmosphere.

It was mastered and cut to vinyl by Lewis Hopkins at Stardelta Mastering. The suggestive artwork was created by Marie De Cuir. You can stream the release in its entirety via Bandcamp and you can also buy the vinyl via the Algebra of Need bandcamp.

Exclusive Premiere: Soggy Creep -Shallow Drownings

It’s unbelievable that it has already gone two years since covering their first EP, and now Soggy Creep have returned – just to leave us as quick as they showed up with new material – “Shallow Drownings” is their final release, featuring three years of written music, like a mini-cosmos of their own. Due to mental health issues the band have decided to call it quits, which is saddening to hear since their grungy and gloomy post-punk, punk carries the perfect melodic and lyrical content to give them that original edge.

But enough moping, let’s get to the music at hand. Their first song “Folie á deux” has a wonderful baseline that carries the vocalists voice perfectly, alongside a drummer who gives that extra rhythm – the hi-hat is insane at times and the lyrics are those of ultimate despair, I mean, one can barely get past: “when our lives are extinguished, we seek only silence” without it giving you the chills, down to the bone. The riffs from the guitar are heavy but simultaneously melodious and to sum it up – it is a perfect first song of a, right now at least, promising album.

Then comes “Forgotten Skin” and here is where it is extremely obvious how entagled with grunge they are. From there it only gets faster and faster, then guns blazing, the punkiness of Soggy Creep crawls out of the soundscape – just to be toned down at the end, slowly fading out into a screeching halt – as if someone abruptly stopped the machine from going any further. The song clocks in at two minutes and a half, but it feels like it goes on forever and ever, and there’s a real likeability about the blend of different genres.

“Shallow Drownings“, here come the title-track, is more of a down-tempo almost a bit sludge rock-ish kind of song. A hangman’s ballad, tightening the noose just a little bit more before entering a world of despair. The drums are really what catches the ear, they are tireless when it comes to the groove – but the rest of the atmosphere isn’t really anything that gives. Surprisingly, the bass catches up by the end and delivers – totally on point and then after that, the transition to the other song goes smoothly.

Bang! Here comes the B-Side and it is one of my favorite songs, titled: “Eradicated Man“, it really gives that carelessness a face. This is an apocalyptic song through and through, carrying that rock’n’roll flame that quickly fade into grunge by the least wink – when the chorus hits like a clockwork – all parts perfectly assembled and the clock is ticking because time’s running out, it’s almost up. What’s great about the latter parts of this song is that the guitars make it, at least for a couple of ten to twenty seconds, into a dark punk song – it really almost sounds a bit gothic, but here’s where the ‘gloomy punk‘ must’ve been given a place, in this song at least.

“Invite/Unfold/Exhaust” is gargantuan melodically. However, I feel like the vocalist is kind of out of place in many segments of the song, he only finds his right in the chorus where the melodies coincide into a wonderful mix of wickedness, and this passage is especially great, lyrically: “fear alone, could make the world turn round, nemesis knocking all the while“. The song becomes so damn hefty near the end of it, as the riffs become more ingenious and are perfectly coupled with one another to bring it to the final halt. Wow, a really, really great song which leaves nothing to the imagination, it is easy to follow through because of the general atmosphere of it, and how it is mesmerizing as hell.

The final song is really the darkest one when it comes to the lyrical content, as it goes: “there’s no rope here, for when the bottom gives away“. It really summarizes the whole meaning of “Shallow Drownings” – here’s where the sickness has spread through the whole mind and body. When it comes to the music, it is not as interesting as the previous songs on this release, but lyrically it serves its’ purpose as a final song. It is too bad that Soggy Creep have managed to put all this effort, throughout the years, into this album – just to quit – but at the same time it is the “perfect” goodbye, if one can even say it like that since the reasoning behind it is dismal, but they’ve outdone themselves and generally speaking – this is an album that Repartiseraren recommends. Stream it down below, exclusively.

The album was recorded on the 15th to 16th of August by Joey Seward at Left Field Recordings in Shelton, WA. Mastered by Carl Saff, photographies taken by David Hoekje (Spitting Image), layout by David Olgarsson (Hemgraven). Originally intended as a co-release (12¨/CS) by Soggy Creep and Conditions Records, now instead available via Repartiseraren for exclusive streaming.