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Pastoral soundscapes pierce through post-industrial dub riddims on this highly distinctive artefact recorded by Jämtland born and Malmö based producer and musician Linus Jönsson. The profound and, albeit paradoxically, decorative sounds on this album consists of a minimal-maximal approach; few, well-leveled elements produces an almost ancient sounding sonic signature of sorts, perfect to immerse ourselves in over the many years to come.

If you enjoyed releases on the Marionette label from a few years ago, or the more experimental side of the ambient-dub axis, then this is for you. 


Matematisk Exakthet

“Enter The Decagon” assembles friends of the label - near and far - for further excursions into the abyss of industrial, folk, jazz and ambient music.

From Copenhagen hails Kristi Brud (Bride of Christ) extending us with a shimmering violin contemplation initially made for the short art film piece The Abduction of Europa, absorbing a modal ambiance of harmonics rooted in central European renaissance. Recorded in Svalöv in rural Skåne comes a hillbilly folk jazz piece constructed by Joel and Ivar on equal parts violin, flute, upright bass and percussion, recorded somewhere in the misty era of of 2012-2015. Then, an interlude follows, reconstructed from the very early live sets of the label's own Inre Kretsen Grupp, laden with tuned metallic percussions and synthesized bow sounds. Following up, the idiosyncratic local talent Fai Ling offers a piece of Basinski/Hassel-esque horn repetitions in full deterioration. Concluding the A-side of the compilation is the band that never was - the only released material of Prins Emanuel and Golden Ivy's Börringe Kloster project - encapsulating their minimal maximal approach of low quality sound samples turned in to a wall of sound of rhythm of sorts.

The B-side picks up on different musings in the form of ambient cadence and carefully sculpted soundscapes signed Phillipp Otterbach, who gives us an unraveling journey into kalimba-hampered harmonies carried through a bed of industrial, synthesized sounds. Moonilena follows up with an eerie yet beautiful minimal composition of radio disturbances and repetitive, ear catching melodies.
Breaking the barrier of stillness, local producer and Catholic chant music fiend Digge Shim performs a rhytmical, tongue-in-cheek number that pulls widely from both the hymnal traditions of medieval Europe as well as the zonked out ambient trance sounds you'd meet in a mid nineties Goa chill-out room.
Near the tip of the decagon, we find the Cypriot producer, singer and lyricist Spivak presenting us with a feeling of the-familiar-but-never-heard in the form of an ambient pop breakbeat number with carefully crafted choirs oscillating on top - hauntingly beautiful and equally danceable.

Ending in the best of styles, well-mannered umarel and purveyor of drum-smitten metallic sounds shows us what Moisture is really about - the mental image of finding your true self dancing in purgatory in a never-released Kenneth Anger film set, encumbered with red lights and occult paraphernalia.


Kristi Brud - Variations Of La Folia - The Abduction Of Europa
Joel Ivar - Svalov 9 Juli
Inre Kretsen Grupp - Interlud
Fai Ling - Ikaros Svett Short Version
Borringe Kloster - Hommage A Eva Ramel
Philipp Otterbach - The Lost Track
Moonilena - Onio
Digge Shim - A Friend In Deed
Spivak - Oauver
Moisture - Blue Tea

"The group Magizter formed in Malmö, Sweden in the early 90s, and mainly consisted of former members of the Hungarian industrial band Das Kapital, of which some managed to flee to Sweden from the communist regime before the fall of the Soviet Union.

Gyula Szilagyi, who was the first to make his escape via train through Berlin in 1987, recalls: “it was a few weeks before mandatory military service would begin, and our passports should have been turned over to the authorities”. Risking deportation and prison, he was granted asylum in Sweden after some months in Stockholm.

Szilagyi and the rest of the band were all part of the underground scene in Budapest, of which some had been under surveillance by the secret police since their teens. It was a tight knit community where anti-communist and illegal literature was distributed, and many bands shared mutual members.

The track “Das Kapital” was produced in Malmö in 1993 by Szilagyi and fellow Magizter member Zoltan Lengyel, in a home studio overlooking the Möllevång Square, were Szilagyi had moved after some years working at the glass factory in Orrefors. He had managed to save a few performances by Das Kapital recorded on cassette, of which one served as sample material for the Magizter track; an homage of sorts to a group involuntarily disbanded.

The cassette sampled here was recorded in 1986 during a live concert at the university-affiliated venue Ráday Klub, where Das Kapital performed alongside the British industrial act Left Hand Right Hand (who had formed from the Sheffield band Zahgurim).

On the eve in question, Szilagyi remarks: “we used a guitar that we had made ourselves to resemble a Kalachnikov rifle. During the concert at Ráday Klub the guitar was destroyed using a drill machine. It made a powerful sound effect”

A remix of the remix is offered by Vienna-based Heap, who with his own productions as well as his work with the Neubau label is building a bridge towards the new era of European industrial music." 


A1. Das Kapital (remix 93)
B1. Das Kapital (remix 93 - Heap Version)

For their 12th release, Fasaan Recordings has dug deep into the techno underground of Malmö to find Frankie Twilight and her drum machine anthems. Not your usual techno producer, the woman behind this Alan Vega-esque alias does not subscribe to any genre definitions. Having played in a Berlin-based punk band as well as acting as resident DJ at a members only 78 rpm jazz club, it's a total understatement to say her tastes are diverse. A quick skwizz at the sleeve suggests a hardware fascination, and the feverish live jams which form the base of these tracks comes off as raw and undiluted. Sometimes they are weighted down with the moody blues of numbing synth chords, like on "My Opal Gems" and "Coral Desires". Sometimes they're frying in the squelch of a classic acid bath, like on "Dizzmol". All the while, the deranged funk of her playful rhythm patterns will see you crawling towards a concrete basement after sunset, contorting your body to fit your limbs into the grooves or sulking in a corner breathing in all of its gothic glory.


Patrick says: Returning after the success of the stellar Free Arts Band EP, Fasaan keep things wild and wavey courtesy of Swedish DIY freak Frankie Twilight. Marshalling her hardware army right into the witching hour, Frankie drops the best synth-goth-freak-funk EP of the year so far.


1. Olympia
2. Dizzmol
3. My Opal Gems
4. Coral Desires 

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