:Of The Wand And The Moon: - Silver Rain

When asked to describe the circumstances that influenced her beautifully fraught new work, Berlin-based musician Annika Henderson—better known simply as Anika—quickly articulates a set of feelings and unpredictable circumstances that are familiar to anyone who tried to make art—or simply tried to live through—the recent global pandemic. “It’s a moment caught in time,” she says of Change, her much-anticipated new record. Given that it has been 11 years since the release of her last solo album, 2010 cult-favorite Anika, the artist suddenly found herself with a lot to say. “This album had been planned for a little while and the circumstances of its inception were quite different to what had been expected. This colored the album quite significantly. The lyrics were all written there on the spot. It’s a vomit of emotions, anxieties, empowerment, and of thoughts like—How can this go on? How can we go on?”

Having worked collaboratively in the past with the likes of BEAK> and Mexico City’s Exploded View, Change was ultimately the product of necessity. “After recording the initial ideas alone at Klangbild studios in Berlin, a few months later and by some stroke of luck, Mr. Martin Thulin of Exploded View, managed to make his way over from Mexico, to co-produce the album with me and play some live drums and bass,” recalls Anika. “Between Reality Baitz and Impression Recordings in Berlin, we managed to get the album together.

The intimacy of its creation and a palpable sense of global anxiety are seemingly baked into the DNA of Change. Spread across nine tracks, the central feeling of the record is one of heightened frustration buoyed by guarded optimism. The songs offer skittering, austere electronic backdrops reminiscent of classic Broadcast records or High Scores-era Boards of Canada, playing them against Anika’s remarkable voice—Nico-esque, beautifully plaintive, and—in regards to the record’s subject matter—totally resolute. Incantatory tracks like “Naysayer” and “Never Coming Back” are both, as Anika explains them, both a call to arms and a warning. “Never Coming Back” was written after reading Rachel Carson’s Silent Spring,” she explains. “I was living in the old East countryside outside of Berlin, where there seemed to be no shortage of birds. Apparently their numbers have dropped significantly, but it is one of these changes that we never really stop and notice. We take things for granted, until it’s too late. With all this other noise going on, care for the environment has quickly been moved to the back-burner. So long as we get what we want NOW and on demand, who cares about whether we are taking care of the future?”

Never Coming Back

DOWNLOAD at bandcamp: https://devinenoire.bandcamp.com/track/open-eyes-2

Open Eyes

#BrotherhoodSwe
ORDER NOW ➤ https://goo.gl/VAjYgh

Brotherhood - Damned

Artist: Odonis Odonis
Album: No Pop
label: felte 
Order: http://bit.ly/1lhkzoR

No Pop

Odonis Odonis - Fluke

A cover of Winner Takes it All originally by ABBA. 

Recorded in 2017 in a house in Seattle by King Dude. 

Piano / Violin performed by Myrkur.

King Dude feat Myrkur - Winner Takes It All

09 Diary of Dreams - Wild

2nd single from upcoming album. 
"There´s wisdom inaccesible to the intellect. You can only reach it through surrender, being nothing."

This Is My Enemy

Truth

Please note: 

- All Soundcloud samples are at 128kbps and unmastered. 
- Manifestation 12" EP  will be released on November 2012 (more datails soon). 
- We are currently working on mastering

-Info-

In Death It Ends appearing from nowhere via their YouTube channel “▲TV” on new years eve 2011. The facebook page INDΣΔ†HI†ΣNDϟ appeared to suggest this was some kind of ‘comeback’: A number of albums and cassette releases that appeared to date back as far as 1969. This of course is probably untrue, but many love to play along.

For In Death It Ends is a black mass of contradictions. Combining post-punk guitar and bass with ‘witch house’ iconography. Drum machine beat and loop repetition with drone and euphoric energy. Inappropriately large reverbs with analog echoes, satanic chants and monosynths before casting it all aside and descending into lo-fi oceanic distant murmurings. First creating the micro-genre “Progressive Occult Hipstercore” before discarding it for “Progressive Occult Ghost-Wave” for these things are short lived and there are surely new places to explore.

Six months into their existence, in June 2012 the Berlin based label specialising in cassette tapes Aufnahme und Wiedergabe release In Death It Ends first album, “Forgotten Knowledge“, a limited edition of 100 copies that sell out within two hours of the pre-order announcement. (The album ”Forgotten Knowledge” is due for a reissue on October 12th with pre-orders starting on the 1st October). Some two months later, in August 2012 a self-released CDr “Restorative Art EP” is completed. A slightly more indulgent and downbeat release, limited to just 50 copies. (It sells out within ten minutes of the product release going live). Following on from this, Aufnahme und Wiedergabe announce their first vinyl release [a+w lp001] it will be In Death It Ends 2nd album “Occvlt Machine” scheduled for release in January 2013. In October Aufname und Wiedergabe will re-release the first “Velvet Condom” EP on cassette. It will include a remix of the classic track “Kalter Lippenstift” that has been produced by In Death It Ends. For more details, please click here.

And so to now, TSM are set to release “Manifestations”, a six-track 12″ EP limited edition containing tracks picked by the team at TSM: five of the best from “Forgotten Knowledge” and one track from the “Restorative Art EP“. The launch is scheduled for November 2012. Stay tuned!

In Death It Ends – Manifestations 12” EP  (TSM 0003)

A1 Blind Faith
A2 Covet
A3 Follow

B1 We All Die
B2 Restorative Art – II
B3 Forgotten Knowledge

Mastering by Moisés Martí (DDF Studio). 
Special thanks to Jordi Bellera (Repli CD).

King Dude feat Myrkur - Winner Takes It All

Not Just Religious Music

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