#andre bratten

​Slow dancing the pain away, in the dark <3

#panicdynamicpandemic #trackoftheday #gifattack #gifmania #moody #edm #electronicmusic #shakewhatyamamagaveya #raaaaven #electroshockboogie #dancemfdance #partymusic #lostinmusic #thankslordfortechno

Aegis - Original Mix by André Bratten 😭

youtu.be

Jørn Stubberud AKA Necrobutcher & André Bratten, Photo by Joakim Haugland

Silvester by André Bratten

In 1987 Norwegian band Mayhem released their debut EP Deathcrush, a deliberately abrasive low-fi amalgam of lyrical brutality and necromantic Sturm und Drang that is arguably the most influential 18 minutes in the black metal pantheon despite, or perhaps because of, the extramural activities of some of its members. That tale of Satanism, suicide, murder, church arson, totalitarian death cult obsessions and more has been told many times so we won’t dwell on the details here. Deathcrush is also notable for its opening “Silvester Anfang” (“New Years Eve”) a short percussion track that sounds like a marching band fed through a two-bit video game and was written by German electronic composer and Kluster founder Conrad Schnitzler who gave the piece to Mayhem’s guitarist Euronymous after he turned up at Schnitzler’s house asking for an intro for the record. It gives little clue of what is to follow.   

Electronic producer André Bratten, born in Oslo in 1987, is known for a slippery, woozy brand of techno pitched between Boards Of Canada and Drexciya. He credits Mayhem co-founder Jørn Stubberud AKA Necrobutcher for introducing him to the story of Euronymous and Schnitzler and encouraging to him to remix the track. The result is Silvester on which Bratten brings together elements of the Norwegian metal underground and Schnitzler’s electronic experiments into a monolith of tectonic ambience. Bratten’s deconstruction stretches “Silvester Anfang” to over 18 minutes, slowing the beat and submerging it in an obsidian shroud of reverb and echo. It is crushingly, relentlessly heavy. Earth pressing on your chest heavy, closer to Deathprod’s audio virus experiments than black metal. The commonality between Norway’s underground ambient artists, the metal scene and even the Supersilent’s improvised jazz drones become clear as Bratten’s project unfolds.

INAUDIBLE'S TOP ALBUMS of 2019

Another year, another big fat list! Hello to all, and welcome to INAUDIBLE’s 11th annual end of year list extravaganza!

Without further ado, in stunning alphabetical order!

INAUDIBLE’S FAVE RECORDS OF 2019

Bibio – Ribbons (Warp Records)

Stephen Wilkinson’s Bibioproject has been shape-shifting for a decade now – from folktronica to glitch hop to yacht rock to ambient drone, with many other…

André Bratten HS (2019)

Djing this Friday 22nd March at CLUB NUIT, le lieu unique w/ Andre Bratten and Discolowcost !

Doors 2200 // Free Entry! 

le lieu unique, 2 Quai Ferdinand Favre, 44013 Nantes, France

Info:

A favourite find for me in April, here (link below) we have talented Norwegian composer Andre Bratten and his looming, brooding soundscape 'Cascade of Events', perfectly offset by the vocals of Susanne Sundfor.  This track is from the recent album ‘Gode’.  There’s no profound lyrical content, but that’s not really the point.  The secret to this song’s appeal is the contrast between Bratten’s swelling, threatening analog synths and Sundfor’s plaintive vocals.  The swelling tension of the industrial growls and transformer-type whines constantly threaten the singing, but never quite win out.  The result is a tense, edge-of-your seat experience.  Recommended.