Dark and dreary atmosphere, slow menacing drones, inhuman and industrial sounds, and an ending of madness and depravity… This is my sonic safe space!
Category Archives: Soundscape
A couple of months ago I went on a trip down to Malmö, and took some time to check out the local record stores as I always do when I visit another town. For this trip I ended up in the very great and eminent store, Rundgång! A small and quaint store with an awesome collection of old vintage records and new exciting stuff from the vibrant local music scene! As I made my way through their collections of electronica vinyls, exploitation DVDs, and art fanzines, I found a plastic bag with a cassette and a dark looking fanzine, with the very ominous name Krypta, Swedish for crypt. Needless to say, I had to have it! However, there was still a pressing thought in the back of my mind; the fact that the bag was stapled shut would mean I could not ever open it and listen to the cassette, without potentially damaging the package and ruining its worth as a collectible.
I guess this is one of the downsides of being a music collector, or collector of any kind. Do you dare to open the cover/package to enjoy the work, or do you keep in intact and let it collect dust on the shelf but preserving it in its whole? I would say that the most important is to take part of the work, rather than let it sit in its packaging and not enjoying the work as it should be, collectors value be damned. But it still feels bad to tear through the staples, or wax stamp, but it is all worth it to hear the music! And this is true for Krypta – Cavities!
Wow, Funeral Fog has some great stuff in their line-up, ey. Anatomiteatern, Nils Dacke, Jurko Haltuu, Miljoner Döda. It’s really shaping up to be one of the richest veins in Swedish noise/experimental music! So, for the third time a release from Funeral Fog, this time a split between the operator of the label and a lot of dead people!
Here we go! Starting of the new year with some nice, cultured, poetry. Oh, but this is not your ordinary run of the mill poetry-slam, this is straight from the Lithuanian purveyors of the finest harshest noise, TERROR.lt.
” This evolution of music is parallel to the multiplication of machines, which everywhere are collaborating with man. Not only amid the clamor of the metropolis, but also in the countryside, which until yesterday was normally silent, in our time the machine has created such a variety and such combinations of noises that pure sound, in its slightness and monotony, no longer arouses any feeling.”
– The Art of Noises, Luigi Russolo
You know what, to be a bit frank and perhaps a bit too personal with you, I’ve been in a pretty terrible mood this past week. Perhaps it was a smaller anxiety attack from the realization that I still don’t know where I’m going in life, and that I have a pretty big problem with dealing with stuff and getting shit done. And because of this, I end up alone in my small apartement, procrastinating everything to the last second and feeling like crap the whole time; just sitting and clicking from page to page on Reddit, and escaping my thoughts by leaving Spotify running endlessly. Maybe I have some real issues I need to deal with or maybe I’ve just been listening to too much introspective, downer, sad drones, like the latest cassette I’ve bought, Everyday Loneliness – An Error in Judgement…
Trepaneringsritualen, or shortened to T x R x P, is the main musical project from the mystical, legendary Swedish “goetic death-industrial” artist Thomas Martin Ekelund. He has gained a lot of medial attention over the last couple years, and with good reason! T x R x P spectacular and ritualistic live performances includes all the essentials of a dark disturbing noise/industrial act, lots of blood, religious symbolism, blasphemous chantings, and harsh abrasive soundscapes. Not only can he do impressive live shows, but he has a real knack for design and producing immaculate soundscapes, like his other(dead) project, Dead Letters Spell Out Dead Words.
With the recent release of his latest full-lenght, Perfection & Permanence, the media fascination and spotlighting of this project has escalated to it being featured on Pitchfork, and named on a magazine list of what a “gothic” teenager should listen to. Has the original exclusivity and intent of a small and personal musical outlet been washed out with the ever increasing media attention? Has the integrity of the intimate ritual been lost, or has just the audience increased?