On Feather and Wire
Rudely physical synthesis from Swedish underground lynchpin Mika Hallbäck aka Rivet, exploring his passions for synth-pop and industrial dance music in a killer album tipped to fans of The Knife as much as CoH or Chris & Cosey
The boss of Kess Kill has largely left his work as Rivet aside in favour of production for likes of Vanligt Folk, Celldöd and Majestoluxe in recent years, but he’s clearly been saving his best solo work for ‘On Feather And Wire’; a definitive debut album of dark, sleazy club music and expressive synth experiments that land on the right side of indulgent.
It ain’t hard to hear a cool familiarity with his kit - he’s been at it for best of 20 years, after all, from techno outings as Grovskopa to the past decade’s Rivet gear - but even still, this lot sees him really get his fingers dirty in the ports, leaving the smell of singed skin and frazzled hair in the air between the fizzing techno grunge and curdled voices of ‘Ney Non’, and the melancholy glyde of ‘April 8’, packing big-boned pulses and nervy arps recalling Nick Klein’s bullish grooves in ‘oral Sparte’, and the clonking jag of ‘Keloid’, while the likes of ‘Etna’s Ascent’ almost unmistakably hark to the axis of The Knife/Fever Ray/Oni Ayhun/Peder Mannerfelt, and the likes of ‘Sooty Wing Flecks’ and the stranger sensualities of ‘Pearling Woes’ prostate at the altar of his core influence, Coil.
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Rudely physical synthesis from Swedish underground lynchpin Mika Hallbäck aka Rivet, exploring his passions for synth-pop and industrial dance music in a killer album tipped to fans of The Knife as much as CoH or Chris & Cosey
The boss of Kess Kill has largely left his work as Rivet aside in favour of production for likes of Vanligt Folk, Celldöd and Majestoluxe in recent years, but he’s clearly been saving his best solo work for ‘On Feather And Wire’; a definitive debut album of dark, sleazy club music and expressive synth experiments that land on the right side of indulgent.
It ain’t hard to hear a cool familiarity with his kit - he’s been at it for best of 20 years, after all, from techno outings as Grovskopa to the past decade’s Rivet gear - but even still, this lot sees him really get his fingers dirty in the ports, leaving the smell of singed skin and frazzled hair in the air between the fizzing techno grunge and curdled voices of ‘Ney Non’, and the melancholy glyde of ‘April 8’, packing big-boned pulses and nervy arps recalling Nick Klein’s bullish grooves in ‘oral Sparte’, and the clonking jag of ‘Keloid’, while the likes of ‘Etna’s Ascent’ almost unmistakably hark to the axis of The Knife/Fever Ray/Oni Ayhun/Peder Mannerfelt, and the likes of ‘Sooty Wing Flecks’ and the stranger sensualities of ‘Pearling Woes’ prostate at the altar of his core influence, Coil.
Rudely physical synthesis from Swedish underground lynchpin Mika Hallbäck aka Rivet, exploring his passions for synth-pop and industrial dance music in a killer album tipped to fans of The Knife as much as CoH or Chris & Cosey
The boss of Kess Kill has largely left his work as Rivet aside in favour of production for likes of Vanligt Folk, Celldöd and Majestoluxe in recent years, but he’s clearly been saving his best solo work for ‘On Feather And Wire’; a definitive debut album of dark, sleazy club music and expressive synth experiments that land on the right side of indulgent.
It ain’t hard to hear a cool familiarity with his kit - he’s been at it for best of 20 years, after all, from techno outings as Grovskopa to the past decade’s Rivet gear - but even still, this lot sees him really get his fingers dirty in the ports, leaving the smell of singed skin and frazzled hair in the air between the fizzing techno grunge and curdled voices of ‘Ney Non’, and the melancholy glyde of ‘April 8’, packing big-boned pulses and nervy arps recalling Nick Klein’s bullish grooves in ‘oral Sparte’, and the clonking jag of ‘Keloid’, while the likes of ‘Etna’s Ascent’ almost unmistakably hark to the axis of The Knife/Fever Ray/Oni Ayhun/Peder Mannerfelt, and the likes of ‘Sooty Wing Flecks’ and the stranger sensualities of ‘Pearling Woes’ prostate at the altar of his core influence, Coil.
Rudely physical synthesis from Swedish underground lynchpin Mika Hallbäck aka Rivet, exploring his passions for synth-pop and industrial dance music in a killer album tipped to fans of The Knife as much as CoH or Chris & Cosey
The boss of Kess Kill has largely left his work as Rivet aside in favour of production for likes of Vanligt Folk, Celldöd and Majestoluxe in recent years, but he’s clearly been saving his best solo work for ‘On Feather And Wire’; a definitive debut album of dark, sleazy club music and expressive synth experiments that land on the right side of indulgent.
It ain’t hard to hear a cool familiarity with his kit - he’s been at it for best of 20 years, after all, from techno outings as Grovskopa to the past decade’s Rivet gear - but even still, this lot sees him really get his fingers dirty in the ports, leaving the smell of singed skin and frazzled hair in the air between the fizzing techno grunge and curdled voices of ‘Ney Non’, and the melancholy glyde of ‘April 8’, packing big-boned pulses and nervy arps recalling Nick Klein’s bullish grooves in ‘oral Sparte’, and the clonking jag of ‘Keloid’, while the likes of ‘Etna’s Ascent’ almost unmistakably hark to the axis of The Knife/Fever Ray/Oni Ayhun/Peder Mannerfelt, and the likes of ‘Sooty Wing Flecks’ and the stranger sensualities of ‘Pearling Woes’ prostate at the altar of his core influence, Coil.
Estimated Release Date: 05 March 2021
Please note that shipping dates for pre-orders are estimated and are subject to change
Rudely physical synthesis from Swedish underground lynchpin Mika Hallbäck aka Rivet, exploring his passions for synth-pop and industrial dance music in a killer album tipped to fans of The Knife as much as CoH or Chris & Cosey
The boss of Kess Kill has largely left his work as Rivet aside in favour of production for likes of Vanligt Folk, Celldöd and Majestoluxe in recent years, but he’s clearly been saving his best solo work for ‘On Feather And Wire’; a definitive debut album of dark, sleazy club music and expressive synth experiments that land on the right side of indulgent.
It ain’t hard to hear a cool familiarity with his kit - he’s been at it for best of 20 years, after all, from techno outings as Grovskopa to the past decade’s Rivet gear - but even still, this lot sees him really get his fingers dirty in the ports, leaving the smell of singed skin and frazzled hair in the air between the fizzing techno grunge and curdled voices of ‘Ney Non’, and the melancholy glyde of ‘April 8’, packing big-boned pulses and nervy arps recalling Nick Klein’s bullish grooves in ‘oral Sparte’, and the clonking jag of ‘Keloid’, while the likes of ‘Etna’s Ascent’ almost unmistakably hark to the axis of The Knife/Fever Ray/Oni Ayhun/Peder Mannerfelt, and the likes of ‘Sooty Wing Flecks’ and the stranger sensualities of ‘Pearling Woes’ prostate at the altar of his core influence, Coil.