Francisco Meirino and Miguel A. García - Nonmenabsorbium

The Brvtalist is pleased to present the full album premiere of Nonmenabsorbium. Prolific Swiss electronic composer Francisco Meirino and Basque country's prominent Miguel A. García, team up for a raw, intense journey of electronic experimentation. Out now on Brussels' Idiosyncratics, this is a five track release of modular synth, field recordings and magnetic fields crafted by two experts of the genre. 

Active since 1994 (as phroq until 2009), Francisco Meirino explores the tension between programmable material and the potential for its failure. Recording what is not supposed to be, Meirino captures uninhbitied authenticity which creates a radical new context. Miguel A. García (aka Xedh) comes from the Basque country and is revered as one of the most dynamic figures of the Spanish scene. His work focuses mainly on composition and electro-acoustic improvisation. García uses sounds from device residues and fuses them with field recordings or acoustic instruments, in the search of an intimate, intense and immersive experience. 

Nonmenabsorbium is a cerebral work of powerful compositions that combine technical prowess with haunting intrigue. 

For more visit Facebook and the label's official site. 

-JRS 

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Artwork by Swiss artist Elise Gagnebin-de Bons

Fatt-Grabbers Spring 2017

Out from the shadows of a sun-drenched California nightmare, comes a new batch of tapes from L.A.'s Fatt-Grabbers. This subversive imprint continues to impress with four new tapes from local electronic and experimental talent that will certainly please both the eyes and ears. 

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Bana Haffar / Rodent (FG017)

FG017 is a stellar split from Bana Haffar and Rodent. Haffars electro-ambient fuses nicely with Rodent's melancholy soundscapes. 

Moment Trigger (FG018) 

One of our favorite L.A. duos is back with four explosive tracks of noisy techno and electronic disruptions. Great modular sounds from a live favorite as well. 

Strangeland (FG019) 

We could not be more excited to see new material from the one and only Strangeland. Two long form compositions make up an acid-laced journey of rhythmic experimentations. Take the ride. 

Wade Blazer (FG020) 

Rounding out the batch is a six track offering from Wade Blazer. This is the perfect trip down from the chaos to a fresh, warped world. 

Pick these up now on Bandcamp.  Also be sure to catch Stranger #4 on April 25th at La Cita. For more visit the label's website. 

-JRS 

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NX1 010

From the depths of Barcelona, comes the next release from enigmatic duo, NX1. The project of Surit and Samot, NX1 is both artist and sub-label of the forthcoming Nexe Records. With nine installments thus far, 010 sees dark techno rhythms and engulfing atmospheres creating a three track EP that stands out from a crowded pack. 

"028" takes up side A with a slow build that ends with an explosive assault, while "029" picks things up with a marching industrial grind that leads to perhaps our favorite track, "030", which takes you deep into the night with an anthemic, driving onslaught. From the artist: 

Absorbed by a parallel reality we come to the change. Needs never before contemplated derive in new emotions. Mix of excitement, agony, joy and anger.
We digest the trip thinking about the next one. Music as nexus. 

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NX1 010 is out April 4th on vinyl and digital formats. For more music, visit Soundcloud. 

-JRS 

New Brvtalism No. 089 + Q&A

The Brvtalist is proud to present a new mix from Kareem. The alias of Patrick Stottrop, Kareem is a Berlin based DJ and producer focused on brutal, almost menacing technoid sounds - which are not only the main element of his productions, but also the essence of the label he founded, Zhark Recordings.

Our own Maria Bungau caught up with Kareem and the two discussed everything from Zhark's illustrious past to what's next. Please find our Q&A below. 

The Brvtalist: Zhark Recordings has quite a history. Tell us a bit more about how it all started. What did you and Rachel had in mind when you decided to start this label?

Kareem: I think we had nothing in mind and no clue about what we were getting into, I think we felt confident enough to go through releasing our own material, we had the right attitude and a clear vision, but that was about it. Back then there wasn’t much you could do anyway, just press a record and try to find someone who would buy / distribute it or pray for it to happen. There were no viral campaigns, just us with 800 copies in my apartment in the NYC.

TB: At the beginning, Zhark Recordings was quite an experimental label, releasing from breakcore to techno and even noise. Why did you decide to narrow down the focus to techno after the split from Zhark International?

K: I believe I did not narrow it down. We only did these 2 releases together (cat 01 and 02) and they had a technoid feel. It was Rachel who began to focus more on noise, breakcore and vocals. At that time the direction question became rather political, like what camp do you belong to? I wasn’t on anyone’s team so I did my thing, call it whatever, Techno, Industrial, I wanted to keep an emphasis on darkness and evolve my production and yes I was probably more Techno Influenced cause of my experiences in Berlin between 92 to 94, you can not just leave that behind and why would you?

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TB: Last year saw the 20th anniversary of Zhark Recordings, which came after quite a long hiatus and it looks like the label is back on track again. What can we expect from Zhark in 2017?

K: There is no release pressure at this point. The quality of the content is essential. It has always been this way. We do what feels right, but there is no plan.

TB: 2016 was quite a busy year for you as Kareem, with releases on labels like Total Black, low income $quad or Noiztank, some in collaboration with David. What does the title "Le 17 Janvier Los Angeles, USA" fof the Noiztank 12” stand for?

K: To be honest there is no meaning. Dave came up with motive. It is from this documentary, DES MORTS, the name was part of the frame and so we kept it as the title for the EP. I think the first thing that came to my mind when I saw it was what I might have done that day on the17th of January 1979 or 78 when this was shot.

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B: You mentioned before that you used to listen to a lot of hip-hop. You even did a remix for Dälek’s Distorted Prose, which seem to be part of a new wave of a so called industrial hip-hop. Are you planning on releasing more similar stuff?

K: I did a couple of Hip Hop releases, there was also the Shadowhuntaz and Kareem "Irreparable Damage" LP from 2007 and 2 years ago The Bonk https://hardwax.com/37949/the-bonk/the-bonk/) a collaboration with Jaeda Glasgow. Hip Hop is tricky as it has a certain format. You have to play by the rules even if you want to bring it to another level and yes I am struggling with that once again at the moment.

TB: What hip-hop artists would you recommend to all the brvtalists out there to listen to?

K: I have been always a big fan of the Shadowhuntaz Collab with Funckarma, all their releases, you know Nongenetic from the crew is from LA. For me still unsurpassed is the Rubberoom release ARCHITECHNOLOGY from 1999,  the German rappers Audio 88 & Yassin are really dope.

TB: What can you tell us about the mix you did for the Brvtalist? How did you choose the records?

K: That could be the first hour of a Kareem DJ Set, the warm up before things are getting more serious, no just kidding, I don’t warm up…

I like the fact that I know a lot of the artists featured in the mix personally, it wasn’t like that back in the days when we were all bunkered up…about the mix: I try to let the tracks breath and if it makes sense I play them almost till the end, I like complex arrangements and detail work in a productions but it can also be limited to just a few sequences and the way they interact with each other or how they blend or build to an inseparably unit. A good example is the Threatening Developments Track Intet Sju. This one won’t make it out of my playlist in a while.

TB: What do you have planned for the coming months that you can share with us?

K: Well in the mix you find already a little hint of what is about to happen.

-Maria Bungau 

Track list:
Constantine - Erebus (Bedouin Records)
Orphx - Pitch Black Mirror (Sonic Groove)
MRTVI - IVUKTON (Jezgro)
Threatening Developments - Intet Sju (Kallkällan)
Casual Violence - Machine are (Aftertaste Recordings)
kareem - Your Markets are Volatile (Zhark Recordings Berlin)
Blush Response - Beyond Flesh (Sonic Groove)
Shxcxchcxsh - MRRRWRRRDS (Avian)
Dronelock & Ontal - Ultimate Question (Shadow Story)
Shifted - Arrangement in Monochrome 1 (Avian)
Positive Centre - Microlith (SNTS)
Zosima - 151025_x25 (Noiztank Vienna)
Headless Horseman - Her Black Wings (Headless Horseman)
Snts - Disappearance of Fate (47)

Fleischberg

Berlin's Fleisch collective is responsible for some of the city's best events in recent memory. With a focus on raw body music, the group pushes a sound that transcends genre and becomes a permanent state of mind. Last year, the group brought us their first physical release by way of the almighty Schwefelgelb.  Now, the imprint presents a new vinyl comp that captures the ethos of the project perfectly. 

Fleischberg is a four track vinyl and digital release that sees contributions from four different producers who all offer their own interpretations of the label's concept. Australian-born, Berlin-based Halv Drøm, kicks things off with a driving assault which then bleeds into the EBM magic of "Total Control" by DSX. The third track is Privacy's "Work", which infuses a healthy dose of ghetto house that is incredibly refreshing to hear. Closing things out is the industrial, midnight anthem, "Andacht" from Sekunde (Phase Fatale). 

All in all Another hit record from the Berlin imprint that leaves us wanting more. For more music visit Soundcloud. 

-JRS

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Video Premiere: Digital Poodle - "Soul Crush" (Adam X Revision)

The Brvtalist is proud to premiere the new video for "Soul Crush" (Adam X Revision), off the second volume of Suction Records' Digital Poodle reissue/remix series. After last year's smash, Work Terminal,  the Soul Crush 12" picks up perfectly with more late 80's industrial/EBM madness that sounds just as good today as it did 25 years ago.

One of the pioneering acts of the North American movement, Digital Poodle began in Toronto in 1986 and would go on to create iconic tracks that have influenced artists for decades since. Re-mastered by industrial legend, Eric Von Wonterghem (Absolute Body Control, The Klinik, Monolith,) the 12" also features remixes by Zvoiet France and Manie Sans Délire (digital only). The one and only Adam X makes a rare remix appearance and we are thrilled to present the video by X-IMG, which re-edits original footage. 

Soul Crush is available now via Suction Records. 

-JRS 

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The Brvtalist Premieres: P.E.A.R.L. - "Avarice" + Q&A

The Brvtalist is pleased to premiere a new track from Santander-born, Berlin-based artist P.E.A.R.L. "Avarice" comes off the upcoming 12", Temptation Through Impatience, out April 14th on the artist's own Falling Ethics imprint. This is first full length release for P.E.A.R.L., who is already well known for his crushing techno and drone tracks, as well as being one half of techno duo Agony Forces. "Avarice" is one of our favorite tracks on the record and a great example of the album's powerful force. 

The driving force behind Temptation Through Impatience is the Medieval book, Ars moriendi or "The Art of Dying". This latin text gave some clues about how to die properly, avoiding lack of faith, despair, impatience, avarice or spirituel pride, all those actually track titles in this compendium. We were instantly drawn to this concept and had the privilege of speaking with P.E.A.R.L. about his label, the album and more.

The Brvtalist: Temptation Through Impatience sees a release on your very own Falling Ethics imprint, a label you started back in 2012. Now in it's 5th year, talk about the evolution of the label and has your approach changed at all with respect to running it? 

P.E.A.R.L.: Time goes very fast... At first I had the idea of just releasing my own music on the label and somehow it continues like this but adding other artists who have a sound which I also identify with.

The Brvtalist: I am fascinated with the Ars Moriendi, a medieval book about the act of dying, that is also a driving force behind this record. Some of its principles include avoiding faith, despair and other emotions and beliefs. Do you think this has any parallels to how you create music? 

P.E.A.R.L.: I am also fascinated with this book and with other books around that time but let's say that I do not consider myself a very spiritual person. What is true is that there are some ancient beliefs and emotions that inspire me to create not the music itself, but the concept that I want to achieve. The main idea which is always related to the meaning of the label.

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P.E.A.R.L. - Temptation Through Impatience (Falling Ethics, 2017) 

The Brvtalist: Spirituality, faith and dualities have been constant themes in your work. What about these concepts continue to inspire you? 

P.E.A.R.L.: Of course these concepts continue to inspiring me. They are very strong concepts and strongly rooted in our society over the centuries. What fascinates me is the use of some of these concepts by certain powers of society and the contradictions that it entails.

The Brvtalist: This is your first album and I really enjoyed the arc and development of the record. What do you like about producing a longer release? 

P.E.A.R.L.: It has been a long process, it has taken me over a year to finish it and sometimes, especially at the beginning, a bit frustrating. During this time, I have released tracks that were originally going to be used for the album but which finally I considered that could work better in EP format. I have enjoyed a lot but above all I've learned things from situations that I've had to face in the creation process and that will certainly be of great value in the future when I decide to start the second album.

The Brvtalist: What's coming up next for P.E.A.R.L.?

P.E.A.R.L.: 2017 has started very well, both personally and professionally. Recently I have joined the PoleGroup family and I am looking forward to see how everything developes. Also the releasing of the album with some other releases on my label and others too. Concerning the shows, I'm working on a new Live Set around the album and I have a very exciting gigs to come.

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P.E.A.R.L. 

Thank you to P.E.A.R.L. for speaking with us and be sure to pick up Temptation Through Desire on April 14th on 12" and digital formats via Falling Ethics. 

-JRS

New Brvtalism No. 088 - Daniel Ruane

There’s music made for introspective trips. There’s music perfect for dancefloors. And then there’s Daniel Ruane, with his unsteady yet charming beats which create a sort of beguiling musical limbo, where you end up wanting to stay and discover more about this enigmatic creature.

Hailing from Manchester in the UK Daniel makes beautifully textured music – not always dance but not ambient either, as you can read on The Silent Howl’s bandcamp page, the label which released his latest EP, Incandescent. And if you’d listen to it, you can agree there’s a rather ominous yet promising feeling about it, which can only mean that one thing: Daniel Ruane has an album coming out soon on The Silent Howl, featuring tracks played in today’s mix, so keep an eye out for more info.

For the New Brvtalism No. 088, Daniel prepared a live set gathering together both his creations and remixes he did for FredThomas, SGNL or Astvaldur, painting a cohesive disarray of broken rhythms and compulsive noises, a truly nightmarish invocation of the rawest and most mechanical sounds.

For more music, visit Soundcloud. 

-Maria Bungau

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Telefon Tel Aviv / Surachai / New Canyons

The Empty Bottle, Chicago, 3/8/17

By Leslie Gray

Shows on a Wednesday have to try a little harder. 

Knowing one’s at the Empty Bottle brings it up a notch. The 25-year-old divey-quaint venue has a history of reliably great performances and tonight was no exception. 

New Canyons opened with the auditory equivalent of watching a laser light show on cough syrup at the planetarium. Layered. Spectral. Trippy. With Adam Stilson’s echoed vocals harmonizing with Andrew Marrah’s swirling guitar, all draped over electronic beats. Listening, you almost drift away, until a crash or a chord, a synth or a string arrests you and brings you back again.

This was a really enjoyable process I might add. Adam’s vocals shimmered sadly, like a low-watt streetlight that perfectly captures the dreamy longing you feel in songs like Everything is Dark and Never Found. Soon, I wasn’t lost though, it was time for act two.

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New Canyons in lavender and blue.

Surachai, AKA Surachai Sutthisasanakul, is a musician/producer with a repertoire that ranges from death metal to dark ambient, with electronic elegies strung out in between. 

Tonight his 45-min set was an audio-visual odyssey from the very first blip. There were currents of sound that varied in timbre and tone, frequency and complexity as blip-blip-bleep-blop-bloops pulsed along with the patterns onscreen. 

Then Surachai’s synth-based explorations became rougher, harder and louder, turning into industrial clings, clangs and clongs, all coated with a familiar layer of distortion. It was very much "a palate cleanser", as a friend said.

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Then suddenly, a woman appeared onscreen, naked with blackened eyes. In the film that followed she finds a red cape and copper neckpiece, walks rocky sands and gazes at rough seas, enacts a ritual and casts her armor to the sea. Titled, Temple of the Weakening Sun, the video and live show combo was a sensory feast that left me satisfied, spent and somewhat emotionally drained. A little water and fresh air, and I was ready for act three.

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Temple of the Weakening Sun

Created by Surachai, Anj Puglise, Francis Kmiecik, Zak Kiernan.

Metalwork – Hvnter Gvtherer

Wardrobe – Wulfka

Starring – Zara Luttrell

View here: https://www.youtube.com/watch?v=tFTo7wEEajM

Josh Eustis may have played solo, but Telefon Tel Aviv was on the stage. The performance was part closure for the artist, whose experiences as Telefon have been triumph and tragedy.

Founded in 1999 by Eustis and the Charles Cooper, Telefon Tel Aviv released their first full-length EP, Fahrenheit Fair Enough, in 2001 to praise from critics and IDM nerds alike. Their next full-length released in 2004, followed by a remix compilation in ’07 and Immolate Yourself in ‘09”. Sadly, Eustis’ founding band mate died that same year. This is the first tour of previously unreleased Telefon songs since his death. “The material was already written. A lot of old stuff, darker stuff,” Josh said.

The set began appropriately low-key with glitch modulations and a muted stage. This soon gave way to audience claps as Eustis played the new-old material, many with hushed the vocals of the artist himself. 

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In between songs he broke into memories and well-timed asides.

"It's almost poetic. I remember the first time we played here. [at the Empty Bottle] It was 2001 and we got new sound system that melted the subwoofers.” 

“I’m only playing one song off Sons of Magdalene”, Josh had told me. True to his word, he played "Crows On The Eaves Of My Father’s House", the sadly beautiful closing track off 2014’s, Move to Pain. This was contrasted by the danceable beats of the ironically titled, “You Are The Worst Thing In The World”.

Finally, he said, “I’m going to play one new one, one old one then I’m out” before electric chords trailed into the night.

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“Sons will continue,” Josh told me. “But it will be different.” 

ASCETIC: Everything is Becoming Remixes + Manunkind: Russian Paradox

Brvtalist favorite Instruments of Discipline continue their impressive 2017 catalog with two new releases that bridge the gap between the many worlds of the imprint's sound. First up, a remix 12" from Berlin's ASCETIC:. Last year's Everything is Becoming LP, covered the continent in gloom with its post-punk and gothic stylings and this record sees the first two tracks, "Utterings" and "Exegesis" remixed by local producers Ancient Methods, Phase Fatale, Unhuman and Luna Violenta. The combination works exquisitely with the ethos behind the projects remaining remarkably similar while all four leave their own unique stamp. This EP is a perfect example of what Berlin does so well, where genres that share aesthetic values feedback, overlap and inspire. 

Also be sure to catch ASCETIC: live in Berlin on March 25th at Dark Spring 2017. 

The second release sees the return of Moscow's Manunkind. Russian Paradox is a limited cassette offering which is right at home on IOD and showcases the duo's impressive array of industrial punishment and power electronics. From the artists: 

Russian Paradox consists of four songs, three already included in our live program, continuing the idea of the sound of our self-titled, debut release. The exception is "Atra Mors", a typical power electronics display that penetrates the charred skull-like dead winds in the desert. The concept of the song lies in the parallels between contemporary Europe and the Europe of 1346. "The Approximate Man" is dedicated to Tristan Tzara's primitive poetry.  

Russian Paradox is an absolutely new stage of Manunkind, inspired by reflection and personal experiences of transcendence, dedicated to the power of the big land, the magic of air and our blood history, to the paradox that became an integral part of our existence, passing through centuries, shouting to us inevitably that 2+2 always makes 5. Always. Here. Forever. We meet causeless, strong-willed self-affirmation at the intersection with total lack of will, extreme sensuality and extreme emotional neglect. Pressed and cut. 
The people who have carried hope through the years of suffering. The land that has always been on the edge of the abyss, but manages to defy all laws of gravity. The person who is always recognized in other lands, with a black mark on their soul, with a cold silence or burning heart, an absurd impudence. Paradox. Irrationality. The land and heroes of our past. What makes us who we are… - Gin and Dee  

For more information please visit Instruments of Discipline. 

-JRS

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