release of the week - release of the week

				Eat Lights Become Lights Autopia Enraptured Records www.myspace.com/eatlightsbecomelights Modern kraut rock doesn’t get much better than this! Eat Lights Become Lights are a trio from London masterminded by multi-instrumentalist Neil Rudd. On the band ’s debut long player Autopia, the audio magicians of ELBL channel the shimmering, synthesizer fronted second coming of Ash Ra Tempel (think Correlations and Blackouts) and add just a dash of solar ambience in the key of Neu. What differentiates ELBL from their contemporaries is in the band ’s addition of bombastic volume swells that are fully complimented by the lively drum attack of Adam Jacobs and Paul Lewis ’ throbbing bass groove. These heavier components of sound lead to ear popping heights amongst the electronic vibrancy and psychedelic guitar haze of more aggressive numbers like “Dark Matter/Light Hearts” and “Konstellation”; where mood enhancing, epic rock structuring is enveloped by a wall of looping electronics and grand-scale, atmospheric tension. It ’s nice to see the band insert taut dynamics into the record’s framework, taking on the form of the above-mentioned tracks, as much of Autopia is an upbeat, uplifting affair full of hymnal drones and astoundingly pretty key work. Still, even when the band chooses to focus on meandering openness in their synth basted compositions they ’ll congeal on a fine, rock n’ roll groove in just the right moments such as the ending to “They Transmit” and “Harmonic”. Also if you can make it through the bouncing, Tangerine Dream tendencies of “White Horses” and not even crack the slightest smile at the overwhelmingly pleasant sounds coming through your speakers, you might ought to start painting your nails black and putting on some heavy layers of oppressively colored eyeliner. You ’re either too depressed to be moved by this kind of glowing magic, or you’re clinically dead. You’ve got a problem either way. All followers of the elder guard of krautrock, here’s your first must hear disc of the new decade. The thrilling, transcendental surge of Ash Ra Tempel, Tangerine Dream and Neu is in good hands with the boys of ELBL, but the thicker rhythms and occasionally tempestual guitar wizard-y is sure to please fans of modern journeymen including Zombi and Titan. Regardless, of your era of preference, Autopia is a masterpiece and a surefire runner for my personal top ten lists this year …no matter what comes after it! Jason Snyder



			L’Acephale Malefeasance Aurora Borealis In a comparatively short time L’acephale have established themselves a firm place amongst the underground, becoming another of those defiantly avant-garde acts that play a part in making black metal the constantly amorphic beast it is. Anyone familiar with this outfit ’s previous two full-lengths, ‘Mord und Totschlag’ and ‘Stahlhartes Gehäuse’ may be taken aback by the apparent lack of the caustic screams and buzzing guitars that won over many listeners on the past two releases. The avenue which L ’acephale seem to be exploring with ‘Malefeasance’ shouldn’t come as too much of a surprise however, since the eclectic influences that have come out in force on this album have always been present in the music. Instead of straight-ahead raging black metal, here the listener is presented with a collection of songs that cover Slavonic neo-folk to musique concrete right through to dark ambient. The only track that really sets foot in black metal territory is ‘A Burned Village’, which is by far the shortest song on the album (though no less memorable than its cohorts). This album seems to be an effort by L ’Acephale to further push the boundaries of black metal to an extent that few bands even dare, and as such it provides a hugely rewarding experience for anyone willing to give it a try. And try it you must, for with groups like this making music like this the orthodox is becoming less and less appealing.. Max Jefferies


			Sylvester Anfang II Aurora Borealis What the hell is this was my first impression when listening to Belgium’s funeral free form drone/folk group, Sylvester Anfang II’s latest self titled release, on Aurora Borealis records. There has been a consistent underground buzz permeating about this group the past few years. I must admit, this is the first time I actually heard the group, and it was a mind fuck. Imagine if you will, experiencing a bad acid trip, and what that soundtrack might actually sound like. Sylvester Anfang II would be the ideal soundtrack to that trip gone array. The group is self-described as Pagan Belogopsych music, which incorporates a myriad of sounds to produce non-traditionally structured music. If this all sounds too over the top for you, then at the very least, listen to the group ’s music, and judge for yourselves, if they are fact or fiction-quality or rubbish. Allow your open mind to be your judge and jury. Sylvester Anfang II began as a three-piece in 2003, consisting of Per, Edgar and Hellvete, but now the line-up depends on who ’s available to record/perform. Together with Ignatius Van Kempenhof and PI666 (who now became a vulcanologist (an expert on volcanoes) in Switzerland), whom have produced a plethora of mainly out-of-print musical offerings. Numerous CDrs, cassette tapes, and vinyl are owned by the fortunate few who apparently discovered this group early on. With the group ’s latest release, in 2009, a much wider distribution is currently being offered to hear and own their music. Even still, their latest release is at times, difficult to secure a tangible copy of. These pagan musicians are indeed a modern kult band, in every sense of the meaning. In other words, they are the essence embodiment of avant-garde musical expressionism. The group’s latest self-titled release’s album cover instantly educates the future listener’s insight into what this group is about-the occult. As upon their record cover is an attractive young nude woman, with human skulls about her sitting cross legged chalky white body. The nude female clutches human skulls in both hands, and looks towards the heavens in a state of euphoric bliss. Judging by the album cover, this is not a Lady Gaga album, and thankfully not. There are weird scenes inside the goldmine within the occult tantric vibes. Six cuts or six sections of single musical movement infuse the listener to over an hour of mind altering sounds. The group, not for the lack of a sense of humor offer not one, but a two part section of, “The Devil Always Shits in the Same Graves”. That is poetry in motion. The remaining songs are in their native Belgian tongue. For me, this is music at night, alone, background strangeness, that goes well with Belgian ale, including my open mind. Indeed, this group is not for everyone ’s taste, but I am certain of the Devil, that neither he nor Sylvester Anfang II, mind your thoughts. Rather, they seek your undivided attention to their curious message of ritual sex, death, and doom. Examine their web site at: www.myspace.com/paganische. Be forewarned!! John Verica



			Uran Uran Sulatron Recs The first time I played this record I fell in love with it. I’ve now been torturing my girlfriend with it for a couple of weeks now and it keeps getting better. Big fat, and I mean pfhaaat, bassy riffs pummel your senses (and if loud enough your bowels) whilst wonderfully weird electronics hypnotise you from outer space. There ’s plenty going on during the 15 track (although on the cover it says there’s 13), 42 minute trip to keep you captured, involved and tranced out man. Uran come from Gothenborg, Sweden and have five synth players, two bass players, a drummer and a guitar player. Other than that there ’s very little out there about them. This self-titled release is Uran’s first, it contains song titles like ‘fatfucker’, and has odd pig headed space creatures and kebab (yes kebeb) artwork. It’s on Sula Bassana’s label, Sulatron and is, honestly, modern space rock at it’s very best. Turn up the bass and hop on board. Ben Camps