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The Mutual Torture pay homage to many of their music heroes from the early 80es. Consequently, their modus operandi is deeply rooted in Post Punk paranoia, alien soundtracks, improvisation, and simulation. Their outcome is coolness that’s glowing cold under the red sun, structure and order, and 12 transcendental messages. In the end, there are no more heroes left but just The Mutual Torture.
This band of non-standard humans appears with a conceptual approach to transforming the energy and the boldness of a genre which is known for its pioneering spirit, overwhelming playfulness and a strong desire to experiment. The Mutual Torture are soulmates of those who formed this genre: a German-Chilean band with an attitude and a plan to tour their album live. In particular: Tobias Freund (drum computers and electronics), André Schöne (bass), and Javiera González (vibrantly morphing vocals).
Tracklist: 01. Local Suicide & Lee Stevens High Buildings
02. Local Suicide & Curses Whispering
03. Local Suicide & Skelesys Moustache
04. Local Suicide & Theus Mago Jam Bounce Release
05. Local Suicide Hercules Adonis
06. Local Suicide PHD In Apology
07. Local Suicide Like Follow Subscribe [feat. Hard Ton]
08. Local Suicide Homme Fatal [feat. The Hidden Cameras]
09. Local Suicide & Kalipo Cobra Wave
10. Local Suicide Agapi [feat. Sissi Rada]
11. Local Suicide Eros Anikate [feat. Lena Platonos]
Press Info:
Local Suicide announce their long awaited debut album ‘Eros Anikate’ which will be released May 13th, 2022 via their own label Iptamenos Discos. The title translates to ‘love invincible’ and draws influence from a play written by Sophocles titled ‘Antigone’.
The album holds true to the duo’s ‘technodisco’ sound that the couple has become so well known for and showcases their signature style of blending a retro feeling with a modern twist. In usual Local Suicide fashion, the duo’s debut album showcases tongue in cheek modern-day circumstances, mystical adventures, and moody baselines; all tied up with the promises of happy endings. You can instantly hear that this album comes from the duo’s hearts. Inspired by the travels and experiences they encountered throughout the pandemic, it’s also a love letter to the friends they met during their career – some of which are also featured on the album: Lee Stevens, Curses, The Hidden Cameras, Sissi Rada, Skelesys, Theus Mago, Hard Ton, Kalipo & Greek new wave legend Lena Platonos.
The producer couple has had a stunning amount of press coverage from leading electronic mags like RA, DJ Mag, Mixmag, FAZE, Groove, Ransom Note, TRAX, Time Out, Tsugi, XLR8R & Rolling Stone for their 13 EPs, numerous tracks on compilations and remixes since 2014 on acclaimed labels, while Beatport declared them as one of the key figures in the uprising dark disco scene. They also recently played themselves in Fett & Fett, a series broadcasted on German national TV station ZDF, in which their musical productions were featured extensively as well. Their DJ career has carried them to all four corners of the world, from Europe, Asia and North Africa to South America and the United States, whipping crowds into a frenzy at Lollapalooza, Melt!, ADE, Off Sonar, Festival Forte, Berlin Festival and many more. Their live cuts have been honed to perfection with years of shows alongside the very best in the scene, even being invited by New Order to warm up for their live show in Berlin.
The album opener and first single ‘High Buildings’ is a collaboration with Lee Stevens, one of the founders of the notorious Luv Shack label and part of Burnin Tears & Space Echo. The nostalgic singing warmth of Vamparela’s voice floats over the top of the track, as the echoing sounds of varying birds converse in a different language in the foreground. The track brings something eerie, dystopian and otherworldly, clearly influenced by the unfamiliar sounds of another land, where the contrast of unbound nature meets the intentional building blocks and order of man-made society.
‘Whispering’ is influenced by the secret whispers of the ‘Spaghetti style’ wild west films they watched in their youth, Local Suicide collaborate with New York born and raised artist Curses as they reminisce of a wilder and sexier time, literally putting the ‘wild’ into the ‘wild west’. Bringing this to life is the gritty and chuggy guitar riff melody that takes centre stage. This is then only emphasised by the syncopated bleep bloops, kick drum and the hypnotic whispers that act as an enchanting love spell which profess to be “always on my mind”. This collaboration is the perfect outlet for bridging together the EBM, Italo & New Wave sounds that both artists are known for.
Coming at no surprise, ‘Moustache’ was done with long-time collaborator and friend, Buenos Aires native Skelesys. Sharing a love for the darker sounds you’d find in horror films and computer simulations, the 4/4 kick drum and woodwind like sounds manipulated into a frenzy bring us a rather interesting juxtaposition of playful horror. While the track crescendos into an ominous buildup of synths that continue to mesmerise you, the famous Vamparela vocals are the perfect surrealist playground that Dali himself would be proud of. Contrasting the playful with the serious, this track is the perfect oxymoron with post-punk and EBM madness, of which we’d expect nothing less from the two acts coming together.
For the fourth track ‘Jam Bounce Release’ Local Suicide team up with Mexican Duro head honcho Theus Mago. Making a point out of how ‘easy’ it is to release a dance track nowadays, the track contains all the elements of what a dance track is through and through – designed to ignite your mind and body on the dancefloor. With accentuated slaps and whacks that swerve in and out of the panning synths and vocals that whirl around you, it is sure to both hypnotise and jolt you back into reality from your vortex like dream. Bringing you the darker side of the dancefloor, this is another great collaboration from Theus Mago and the Local Suicide duo after the international success of their previous joint singles ‘Komm Ins Loch’, ‘To Vathos’ & ‘Technician’.
The album’s B’ side kicks off with ‘Hercules Adonis’ which was recorded in the summer of 2020 in the duo’s studio near the beach in Chalkidiki, Greece where they spent a lot of their time during the pandemic. The track starts with a straight flowing arpeggiated bassline, in conjunction with the simple yet effective melody and Vamparela’s seductive vocals create a brooding atmosphere as she narrates the myth of Adonis. The tight and slick hi-hats rock beautifully with the bassline, while the flute throws the groove around. The various synth stabs shake the track up and serve as great leads. The additional bass guitar was contributed by Australian artist Joshua Murphy.
The perfect storm of Local Suicide’s power, rhythm and lyrics, ‘PHD in Apology’ is what they’re all about. Sassy, sarcastic and audacious… yet lighthearted, forgiving and optimistic, it’s the perfect balance of emotions that make up love and relationships. Encapsulating the entire theme of the album, this track is a “humorous take on human relationships, apology and forgiveness”. Exploring how to navigate the feelings and bad tastes that relationships leave in your mouth, the dark humour track teaches us a lesson in the plenty of excuses from apology givers.
‘Like Follow Subscribe’ was written during a late night session as a way of making fun of social media to highlight the absurdity of it, while at the same time being conflicted and having no choice but to use it. Guest vocals were contributed by Italian powerhouse Hard Ton and Turkish artist Begüm Karajan. Full of cynicism and sarcasm, the lyrics are about the current “social media madness and how they dictate every aspect of our lives, making us slaves to them.” The two contrasting sounds and lyrics seem to stand for the apparent lighthearted face of social media which presents itself as something harmless and fun. While really deep down, it has a more sinister and insidious nature that comes for us all. Dirty and seductive, the track is another face slapping-ly postmodern creation.
Local Suicide join forces with one of Canada’s most mercurial legends Joel Gibb aka The Hidden Cameras, an artist known for his raucous and legendary performances with his gang of musical provocateurs, a musical celebrator of freedom and sexuality. The result is ‘Homme Fatal‘, a liberating march to the sound of rusty synths, heavy kicks and staggering snares married with the sassy & classy voice of Joel Gibb, nothing short of an EBM anthem that is meant for the club stage. With a stompy rhythm 4/4 beat that dictates the pace of the track, Homme Fatal is a real headbanger that leads you into the land of the club and keeps you amongst the debauchery within. The listeners are teletransported to the wild nights of Berlin, where the music is stomping, the atmosphere is buzzing and the people are free.
The ninth track ‘Cobra Wave’, a term coined by the duo themselves to describe their fusion of genres, originated when testing a new VST plugin that allows you to collaborate and create music in real time while in different locations. They worked remotely with Kalipo, who’s part of German punkrap band Frittenbude and with whom they recently formed their new live project Dina Summer. The result was a track that stays true to their oriental influences and really exemplifies the sound that they have spent years crafting. The track starts off with groovy percussion and a bassline that gets you swinging from the start. As a high frequency synth arp comes in, the track’s energy and momentum build until a sound that resembles a snake charmers flute plays. Eerie and enticing, it lures you out of your comfort zone to take you on a journey where you’re met with head spinning hallucinations and enchantments.
‘Agapi’ is Greek for Love. So what does love sound like? In this realm, it is a combination of the enchanting voice of Sissi Rada infused with a slow wobbly bass and eerie, piercing synths by Local Suicide. Breaky drums make a very brief appearance in this track, letting listeners indulge in Sissi’s voice. Sissi Rada, originally from Athens, has worked with other legends such as Lena Platonos, Brian Eno, and Andi Toma. As a harpist at her core known for creating atmospheric soundscapes, you can hear the influence the angelic instrument has had on her sound and style. This is very much evident in ‘Agapi’; stripped back and minimal compared to the other tracks on the album, it soothes your soul and breaks up the energy from the rest. The lyrics, as hypnotic as the sound, uncover the many emotions that transpire from love. Sissi tells listeners to let go of fear, to trust and surrender to the most powerful force humans can feel. Ending on what feels like a cliff-hanger, this collaboration of mystery, secretness and beauty only leaves you wanting more.
Finally, with the track ‘Eros Anikate’ which means ‘love invincible’ in Greek, the album is closed by the very thing that inspired the duo to create and release their album, love. Ethereal and hazy, the track awakens you out of the rather heavy and hypnotic dream into a much clearer reality. This track is graced with vocals by the legendary Greek singer Lena Platonos – who also happens to be one of the most prolific figures in the Greek new wave scene – as she recites a part of Sophocles’ Antigone in ancient Greek from around the year 440bc. Pianist, composer, poet and vocalist, Lena is a multi-talented artist who has performed in different settings all over the world and recently released reissues of her early works and an EP with remixes by Red Axes on Dark Entries. The track ends the album on quite an emotive note with ethereal pads and a slow moving arpeggiated synth, that helps maintain flow and movement, while the bass is synched perfectly with it.
Enchanted by Greek culture, the album spreads the word of love and connectivity. Local Suicide has ensured this concept spreads beyond the world of play to different cultures, thus making it a universal idea that connects with a diverse array of people. While the story of Antigone may have been a tragedy, Local Suicide has taken it and used it to spread the gospel of love through their music. As we join them on their journey through the inescapable twists and turns of cultures, places and relationships, they show us that love will always be the ultimate triumphant force.
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‘Dark disco meets EBM on this brooding slice of nostalgia’ Resident Advisor
“…from dark disco to EBM, jacking acid, and warped post-punk” XLR8R
“…DAF meets Depeche Mode meets Jeff Mills” FAZE
“…eine Slow Jam der Extraklasse…” Groove
“…bound to get you boogying right into the stratosphere” JUNO
“…brilliantly executed club tracks” DJ MAG
Press Info:
“I follow the golden stream…” sings Rosa Anschütz in the title track of her new album, in a cold, clear, determined voice: “And now, I am following the golden stream. And I follow the golden stream.” Underneath, golden interference buzzes and splashes at first, while cold light lies over the “thick water.“ Followed by powerful beats setting in as the trumpet fanfares of the chorus herald victory over the elements. “Goldener Strom” is about the desire to drift; to surrender to the moment and about the movement of life. Simultaneously, the music portrays the will to resist the world and its currents – the currents that want to drive one somewhere they don’t want to go. How does one become an island in the current? How does one find the self-confidence that allows them to drift and enjoy the movement of life without being exposed to those currents? On the cover of the album, we see Rosa Anschütz in the vastness of a gray shimmering sea – in a blue dress, sitting on a blue Panton chair: symbolizing modernity that has now become historical – sovereignty over history and over art.
“Goldener Strom” is without doubt the most astonishing album of the season. It plays with hardness and tenderness, it narrates of the beauty of losing one’s self, as well as the happiness of a self-determined life and creation. It can be danced to, but one can also listen to it as a conceptual album; it is as full of beats as it is full of thoughts. Rosa Anschütz reinforces her enormously versatile vocals -ranging from a pleading breath to a cold New Wave speaking voice – with a relentlessly marching four-to-the-floor techno; but underneath it all, lay polyrhythmic deviations again and again. Clattering and trembling, deep basses digging into the ground, while shimmering veils of sound blow from above. Rosa Anschütz follows the traditions of Dark Wave and Postpunk, but carves deep notches of sound sculpture and romantic smoothness.
Rosa Anschütz was born in Berlin in 1997. She grew up in a secluded lake house with an enchanted garden. Her first instrument was the piano, later she learned the flute and trumpet and played in a Bigband. She listened to jazz and DJ Krush and started playing music in various rock bands while still at school, but she soon realized that the best way to pursue her artistic visions was on her own. She experimented with Garageband and uploaded her tracks to SoundCloud. That’s how she came to the attention of Max Kobosil, among others, the young DJ star from Berlin’s Berghain, who later also remixed her song “Rigid.“
Rosa Anschütz found her musical awakening in the world of electronic avant-garde and techno clubs. At 15, she went to Atonal Festival at Berlin’s Kraftwerk for the first time, she immersed herself in Berlin’s post-punk and industrial avant-garde scene, and later on, she danced at Berghain. Dancing in dark spaces, she says, had a mind-expanding effect on her: she loves letting herself drift and the moments when everything dissolves and boundaries shift. But she also quickly sensed the dangers inherent in this drifting: How does one come to create a good relationship with one’s own body when, in the crucial years of youth, one’s body consciousness is expanded and manipulated by all too many means? She left Berlin to study Transmedia art in Vienna. Most importantly, it was there that she began working with modular synthesizers – instruments which open up possibilities primarily by imposing limitations. Her first EP “Rigid” and her debut album “Votive” from 2020 were significantly influenced by her work with modular synthesizers.
On “Goldener Strom“, she has freed herself from this. She supremely uses all means of electronic music production and combines them with analog instruments, the flute, trumpet and guitar; in addition, she sings, speaks and breathes with her cold and confident voice. As on the previous albums, she recorded the songs with the Berlin producer Jan Wagner. It was important to both of them that everything they recorded was finished as quickly as possible.
They wanted to capture musical moments; if something worked, it was finished quickly; if they got stuck somewhere, the track was left and discarded. When producing, says Rosa Anschütz, this is the most important thing: that you don’t get slowed down. And that’s how it is in her art in general: it is about gathering and amplifying energy; it’s about condensing experiences, making a point, finding a conclusion for an image comprised of sounds and words, however fleeting they may seem. The stream of which Rosa Anschütz sings, and which she ignites in her music: that is also the stream of consciousness, the stream of experience; and what one experiences, is already over in the next moment. It is about catching the moment – and in the next moment, however, already not to look back.
“I follow the Golden Stream,” sings Rosa Anschütz, meaning: she follows the becoming and passing of things; but at the same time she offers – like an island – a resistance to the drift of time. “Goldener Strom” is a great pop album, full of melodies, aphorisms and beats that immediately catch your ear. At the same time, it is a manifesto of artistic sovereignty – precious and wise in our times of streamlined art.
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After two LPs on Sonic Groove, Crystal geometry returns in April with a new album redefining his vision, for the first time, on his own new imprint : Bloc Noir.
Leaning more towards guitars and at a slightly faster pace than his previous records the thirteen tracks of “I stare into darkness” range from trap influenced bangers to black metal rave songs and industrial broken beats.
The message is clear, it’s a call to arms to challenge the dystopian world that is becoming our reality.
Because of the currently unbearable delays in the record pressing plants “I stare into darkness” will only be released on USB necklaces and in digital format on Crystal geometry’s bandcamp.
The full metal engraved USBs will contain as an added bonus instrumental versions of some of the songs, a digital booklet with lyrics and the thirteen tracks in both compressed and lossless file formats.
