#ikuisuus

Comparatively easy listening from the set of records showcased this time around, but there's a world of grief settin' your jaw to grind. You deserve a neck massage and a cocktail; lean into these after you put your misery rectangle aside for a spell.

Astute Palate, s/t (Petty Bunco)

Emily Robb, David Nance, Daniel Provenzano, and Richie Charles got together and hammered out this LP during "48 sleepless hours" in Philadelphia. It's definitely a fairly rough documentation, but if you know the players, that's generally what you'd be gettin' into with 'em anyway. Gotta admit that I'm not a huge fan of what I've heard by David Nance - respect his hustle, though - and the same goes for the tracks he leads here; in particular, the studied classic rock caterwaul employed on "Stall Out" basically rolls my eyes for me. I am, however, fond of David Nance the Guitarist and his heroics on "Stall Out," and "A Little Proof" definitely has me more curious about his recent solo work I've skipped. These are pithy grievances, though: the album rules, as a whole, but it's just hard to stomach some of Nance's lyrics when they're side-by-side with bonafide jammers like "Bring It On Home" and "Treadin' Schuylkill." "Bring It On Home," in particular, with its Velvets-inspired chug and Robb's bleary vocals coolly beckoning you to do as the title says, heats to a boil with the blustery, fried guitar interplay. For me it wipes the floor with anything else on the album, and pretty much anything else I'll hear this year, so let's put all my petty complaints aside and declare this the Summer of Astute Palate, OK? Looks like the secret's out - the LP's sold out from the source, but can be found hiding in various distros and shops. Hunt it down, crack a tallboy, and embrace the sweltering heat of our melting planet with Astute Palate.

Maraudeur, Puissance 4 (self-released)

New and best LP yet from Leipzig's Maraudeur, self-released with some of the best packaging/artwork I've seen in a minute. My memory's usually a bit faulty, but I recall the band being a three-piece on their last, still very good LP from Bruit Direct Disques. I'm inclined to think that the group's ranks have swelled to five anyway, since the sound here is a bit more bright and full, lots of different moving parts zipping and moving around, giving the crisp recording some effervescence. Compared to older songs like "Computer Dreams," Maraudeur sounds sharper, capable of backing up any threats rather than coming across as deflated and listless. Even the slower songs on Puissance 4, such as "Slow Dress," thrive on tension, guitar strings set to snap amidst the robotic/hypnotic vocals. The band seems to have located a sweet spot between the simmering minimalism of Household and the technologically damaged vision of Chrome, and "TWYWYS" basically sounds like a collaboration between the two groups. Guitars are used as window dressing, favoring instead synths and showcasing the chops of the rhythm section. "Face/Figure" and my favorite track "C'est Caché" are the best examples of Maraudeur's rhythmic foundation, but nearly every track causes inadvertent head bobbing. While accessible and familiar on the surface, Maraudeur's dry humor, the carefully camouflaged layers of sound, and whatever is going on in "I Am Here" keep boilerplate post-punk comparisons at bay. Puissance 4 is a refreshing, addictive brew from the not-too distant future, and probably a blast to experience live.

Astrid Øster Mortensen, Gro Mig En Blomst (Förlag För Fri Musik)

New Gothenburg talent alert! Mortensen is apparently a newcomer to the scene, and her debut LP fits in nicely amongst the Förlag För Fri Musik discography. Gro Mig En Blomst features lonely and debased late-night solo explorations with guitar, piano and what sounds like an accordion, accented by electronic manipulations and the found sound that accompanies most FFFM records. It's dreary and stark, and can quickly bring the mood down when it's on. For me the most obvious reference point is Grouper's Ruins, in that both are recordings so intimate that it feels like an interruption to move while it's on. But I also get bits of Picastro's Whore Luck ("Hvor Kommer Mørket Fra?" sounds like it was plucked directly from that album), and there are similarities to Chloe Alison Escott's solo work, on the title track and "Piano i" and "Piano ii." Gro Mig En Blomst is a far cry from more traditional singer-songwriter music, dabbling in Stars of the Lid-like drone on "Brud ii" and jumping into the "Is there a record on or...?" genre on "Solen Er Et Lille Hus" and "Brud i." I can't say I go out looking for records this fragile and surface-level bleak anymore, but Mortensen's work is more often beautiful and calming than hopelessly gray. Another keeper from FFFM, sure to be one of the most sought-after records from the label, and for good reason.

Nightshift, Zöe (Trouble In Mind)

Travel back in time with me, if you will, to a time when "indie rock" was a genre label that had some meaning. After getting rid of the bad taste in my mouth and shaking off the embarrassment at who I was when I largely listened to stuff that'd broadly fall under that label, I'll allow that Nightshift is making a strong argument for some of the music released during the comparative naiveté of the late '00s/early '10s. Across Zöe, you get shades of Broadcast, Lower Dens' Twin-Hand Movement, the UV Race ("Spray Paint the Bridge"), Belle & Sebastian and A Sunny Day In Glasgow ("Power Cut" and "Romantic Mud"). The trick to Zöe is that it folds all these reference points in neatly and places it on a sturdy percussive base. I won't argue that every song here is memorable, but they're all enjoyable, and the songs that hit - "Outta Space," the title track, "Infinity Winner" - send chills down my spine every time. Guitars are plucked and scraped for leading beats, accentuating shuffling drums and giving the bass the spotlight. The vocals are dreamy and lyrics direct, and for the duration of Zöe you're relieved of the pessimistic present and allowed to rigidly dance to Nightshift's hesitant groove. They've charmed their way through my cynicism, and Zöe's been on heavy rotation despite my reluctance. Take it for a spin, and fall under Nightshift's spell.

Hugo Randulv, Radio Arktis: Samlade Ljud Från Den Norra Polcirkeln (Förlag För Fri Musik)

First solo LP from Hugo Randulv, an active presence in the Gothenburg scene with his involvement in Enhet För Fri Musik, Skiftande Enheter and Amateur Hour, among others. Though typically a guitarist, on Radio Arktis, he drops the guitar and instead fills both sides with glacial synths and dusty samples. The label's original write-up for this record called it "grand ambient," though to me it sounds and feels much more personal than something that would soundtrack the Olympics. His use of samples, most notably on "Radio Reykjavik," sounds intimately tied with some fleeting memory, the music serving to enhance or exorcise the feeling tied to it all. It reminds me most of the Fun Years' "God Was Like, No" in that both records used the tools common to ambient/drone music but applied a much more personal touch, that certain nameless attribute that keeps drawing a listener back in. Can't put my finger on it, but both records just sound like they had to be made, rather than serving as a genre exercise or one-off exploration. I don't know that Radio Arktis is going to change anyone's life, but it could, and I've been hypnotized by its wordless, sparkling gray tones for weeks. Even though the "solo musician embraces synths" thing is usually pretty tired and pointless, Hugo Randulv's contribution shows why it's an alluring proposition at all.

Sunhiilow, Beyond the Cycle (Ikuisuus)

Kyle opened his mouth to make a sound of protest to the social activity that his husband requested they do but instead of making the sound he intended to, a strange strangling sound escaped him as he heard a loud whoosh of wind all around him. He plugged his ears, feeling like he was going to have eardrum damage and then suddenly realized that he couldn’t see his husband anymore.

“Jare Bear?” He called, looking around desperately. All he could see was a blur from the wind around him. He stepped into it, hugging his hat to his head and pushed through the swirl of wind, only to find... he was no longer home.

“Jare?” He tried again.

“Will you shut up?” An annoyed voice snapped at him. His eyes narrowed in annoyance as he glanced over to see a young woman. Maybe in her late 20′s or early 30′s. Of course, he appeared pretty young himself although he was thousands of years old, so he tried not to assume age.

“Who are you?” He snapped. “Where’s my husband?”

“Who gives a fuck?” The girl snapped back. “Where is my forest?” They glanced around to realize it was completely white around them except a strange black speck that was rushing toward them. Kyle narrowed his eyes to get a better look and realized it was a cat.

“Oh fuck no,” he snapped, turning to teleport away.

But-

“What the fuck?” he couldn’t teleport. He’s been able to teleport his whole life, basically. Why was he suddenly unable to?

“JARRED!” He screamed, not giving a shit if he seemed desperate. Usually, he’d appear calm around strangers, but he couldn’t see his husband, was in a strange place and there was a disgusting cat in here.

The girl leaned down and clicked her tongue to it, hoping it’d come to her, which it did. Kyle made another strangled sound, leaping away.

“Get that disgusting thing away from me!” Lindora ignored him and lifted the cat into her arms, scratching behind its ears.

“What happened to you?” She asked, frowning with worry. He slowly released his tension in his shoulders and glanced down at the cat to realize that it was covered in patches of missing fur & skin. It looked even more wretched than a normal cat. He stared around them again.

“What is that thing?” He asked after a second.

“That’s rude! It’s a cat. Obviously it’s been abused.”

“Wow, way to make assumptions,” an annoyed voice snapped at them, making both of their eyes snap up to meet a young girl’s. She was looking beyond annoyed by the newcomers. “One of you talks about me abusing my beloved Chippy and the other talks about how disgusting he is. I have half a mind to-” her voice stopped suddenly when she noticed Kyle. He eyed her curiously as another woman appeared next to her.

But it was-

“You,” he snapped, jabbing an accusing finger toward her with anger flashing in his red eyes, making them almost look like blood glimmering in them.

“Me,” the dark-haired woman said simply, smirking and putting a hand on the young girl’s shoulder. Lindora was completely lost.

“How’d you get here? I still have yet to kill your ass,” the woman said with conceit, a smirk playing with the features of her face. The man was obviously annoyed by this and clenched his fists to his side. The cat started to struggle in Lindora’s arms and she set him down before glancing between the three strangers.

“EXCUSE me! What is going on here? Where are we and who are the lot of you?”

The young girl was the one to face her and acknowledge her question while the other two continued to stare each other down in challenge.

“Obviously you’re not that strong, considering you’re here. How’d you die, some water drown the puppy?” The woman mocked, making the man growl and suddenly he had wolflike features starting to sprout from his body as his eye twitched in rage.

It was difficult for Lindora to force her eyes from the confrontation, curious about the man with the wolf features. She never saw anything like that where she was from. This was such a curious place.

“I am Ikuisuus, this is Belinda. She is my friend and my... assistant,” the young girl said, causing Lindora to wrinkle her face up in confusion.

“Assistant? You’re just a kid-”

“I’m actually much older than I look,” Ikuisuus said simply with a lazy smile. “But enough about that. This is where souls go when they die to carry on to the afterlife. I’m so sorry to tell you, but you’re dead.” Lindora snorted at that.

“That’s not news. I’ve been dead for a long time.” This caught the attention of the woman and the man as they glanced over at her.

“You... were already dead? How have we never seen you before?” Belinda asked.

“Because I became a wisp. My afterlife was already determined. I didn’t have any grand guide to the afterlife, unless you include the bitch that was my boss until she disappeared.”

The girls blinked. Kyle took the opportunity to swipe his claws at Belinda, who stepped back quickly and effortlessly.

“So who are you and how did you change into half a wolf?” Lindora asked bluntly, turning to Kyle. He narrowed his eyes once more.

“How is any of that your business?” He snapped in return.

“This is Kyle. He’s a jackass hybrid that I’ve been trying to get here for a long time,” Belinda told her for him, rolling her eyes at his response. His eyes shot at her and she only smirked another challenge.

Lindora looked only more confused.

“Hybrid? What? Hybrid of what?” The other three stopped to stare at her. “Vampires? Werewolves? They have hybrids.” Now she was really lost.

“Vampires? Werewolves? What?”

“Wow, where did you grow up, under a rock?” Kyle snorted in derision.

“Alright, Kyle. Shut up and go to hell,” Ikuisuus said, waving him off but as the floor opened up to swallow him and take him to hell, he leapt away.

“I didn’t die!” He argued. “Take me back. I can’t teleport. Take me home. Now.” Ikuisuus’ eyes met his at this new information.

“What do you mean, you didn’t die? How’d you get here, then?”

“I don’t know. I was talking to my husband and then I just... I’m here.” Now the girls from this place turned toward Lindora with questioning eyes. She only shrugged.

“I died ages ago. If I was meant to be here, I’d have come here then. I don’t know what happened either.” Belinda and Ikuisuus stared at each other, having a silent conversation then turned on their heels to talk quietly in a corner. The cat from earlier leapt on Iku’s shoulder while they spoke and then soon they came back.

“Sorry to do this, guys. Well, to you, not so much to Kyle,” Ikuisuus said with a smirk. “-but you had to come here for a reason. We have to bring you to the next life.” Lindora frowned.

“But I’m not supposed to be here.”

“Apparently you are. No one comes here by mistake,” Belinda reasoned. Now Lindora was the one getting angry.

“I refuse,” she growled. Belinda gave a little smirk.

“She’s got spunk,” she noted, looking the other woman up and down. Ikusuus rolled her eyes.

Ikuisuus

Horna - Kun synkkä ikuisuus avautuu

Black Trumpet - Blue Blew It [Full]

Posted a track from this previously, but here’s the whole thing. Keijo Virtanen (Rambling Boys) and Alex Reed (Räjäyttäjät) seamlessly merge elements of a good half-dozen genres, making use of probably a full dozen instruments between them (guitar, mouth-harp, maraca, omnichord, organ, ukulele, bass, drums, sampler, etc). Must-hear 2017 release! Seldom, if ever, predictable, weaving between styles effortlessly (see "Her Landing"). Quite the relaxing listen. Good vibes entirely! Positive moods & feelings! Good energy! It’s a juggernaut of bliss! Better than that Bitchin’ Bajas record, which is a total bummer and harshes my f*ckin’ mellow! Music crit consensus is the enemy of peace, love, and God! Namaste.

Tracklist

01. She's Smoking (3:57) 02. Kuutamolla (2:51) 03. Long Gone Sally (2:44) 04. Move (2:17) 05. Hevonen Kopsahti Huoneeseen (5:31) 06. Taas Yksi Yö (2:38) 07. Old Macdonald's Farm (3:29) 08. What You Got in Your Mind (4:59) 09. Kotikaupungin Kadulla (3:31) 10. Her Landing (4:19) 11. Väri Liukenee Veteen (3:20)

Total Time: 39:41

Everybody’s favorite reaper (okay, okay, my favorite reaper heh). Iku is stronger (and older) than she looks. Her first crush was on a serial killer... dot dot dot OF serial killers. But she eventually got over it when the girl tried to kill Belinda and she had to send her to hell.