RIVET
Peck Glamour
Boomkat Product Review:
On his 2nd ace LP for Editions Mego, Scandi club misfit Mika Hallbäck screws everything from singeli to dancehall and industrial EBM in a panel-beaten, sampledelic patchwork of madness ahead of his role on the upcoming Sandwell District album.
The wilder, dare-to-differ and boundary hopping spirits of Editions Mego and its dearly departed Peter Rehberg burn bright in ‘Peck Glamour’, where Rivet parses a mazy logic and emotive cadence from disparate inputs of influence across the faces of club and experimental electronic musics. The succinct eight-track set builds on ground disrupted with his Mego debut ‘On Feather and Wire’ (2020), and its follow-up ‘L+P-2’, dedicated to Peter Rehberg, and his dog Lilo, with a sound that runs amok on conventions, liberally twocking from sources including YouTube, classic dance music, punk and whatever the fuck he likes, for an album brimming with moxie and surprises.
With an open heart and open minded approach to his thing, Rivet turns feelings of loss and disenchantment into an effusive, expressive LP that largely ditches the harder nosed industrial techno thrust of his work as Grovskpa or previous Rivet singles in favour of a recombinant style and pattern. He embraces a more queered and worldly purview in the melodic embrace and weightless dynamic of opener ‘Catch up to the Light’, and follows that sense of physics and feeling thru the strange distillation of influences from Tanzanian singeli and Het Zweet-like primordial industrial on ‘Orbiting Empty Cocoon’, thru to the fractal ambient whorls of parting piece ‘We Left Before We Came’, with double bass supplied by Gregory Vartian-Foss.
In the main body of the album his offbeat industrial urges come into play on the crunching dancehall displacement of ‘a highlight ‘Patitur Butcher’ (an obscure reference to the Queen Vic’s hardest landlady?), whilst the title of ‘Plastic Bag Putain’ instrumentally implies his politics in a brooding transition from serene to clenched industrial tension, and ‘Sacrosanct’ craftily recycles classic samples in a twin-rotored meat motor stepper nevertheless yoked back to mutant pop territory, and ‘Kyrie Geire’ indulges dark ambient-pop workshop at the altar of Coil x Threshold Houseboys Choir.
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Boomkat Product Review:
On his 2nd ace LP for Editions Mego, Scandi club misfit Mika Hallbäck screws everything from singeli to dancehall and industrial EBM in a panel-beaten, sampledelic patchwork of madness ahead of his role on the upcoming Sandwell District album.
The wilder, dare-to-differ and boundary hopping spirits of Editions Mego and its dearly departed Peter Rehberg burn bright in ‘Peck Glamour’, where Rivet parses a mazy logic and emotive cadence from disparate inputs of influence across the faces of club and experimental electronic musics. The succinct eight-track set builds on ground disrupted with his Mego debut ‘On Feather and Wire’ (2020), and its follow-up ‘L+P-2’, dedicated to Peter Rehberg, and his dog Lilo, with a sound that runs amok on conventions, liberally twocking from sources including YouTube, classic dance music, punk and whatever the fuck he likes, for an album brimming with moxie and surprises.
With an open heart and open minded approach to his thing, Rivet turns feelings of loss and disenchantment into an effusive, expressive LP that largely ditches the harder nosed industrial techno thrust of his work as Grovskpa or previous Rivet singles in favour of a recombinant style and pattern. He embraces a more queered and worldly purview in the melodic embrace and weightless dynamic of opener ‘Catch up to the Light’, and follows that sense of physics and feeling thru the strange distillation of influences from Tanzanian singeli and Het Zweet-like primordial industrial on ‘Orbiting Empty Cocoon’, thru to the fractal ambient whorls of parting piece ‘We Left Before We Came’, with double bass supplied by Gregory Vartian-Foss.
In the main body of the album his offbeat industrial urges come into play on the crunching dancehall displacement of ‘a highlight ‘Patitur Butcher’ (an obscure reference to the Queen Vic’s hardest landlady?), whilst the title of ‘Plastic Bag Putain’ instrumentally implies his politics in a brooding transition from serene to clenched industrial tension, and ‘Sacrosanct’ craftily recycles classic samples in a twin-rotored meat motor stepper nevertheless yoked back to mutant pop territory, and ‘Kyrie Geire’ indulges dark ambient-pop workshop at the altar of Coil x Threshold Houseboys Choir.
Boomkat Product Review:
On his 2nd ace LP for Editions Mego, Scandi club misfit Mika Hallbäck screws everything from singeli to dancehall and industrial EBM in a panel-beaten, sampledelic patchwork of madness ahead of his role on the upcoming Sandwell District album.
The wilder, dare-to-differ and boundary hopping spirits of Editions Mego and its dearly departed Peter Rehberg burn bright in ‘Peck Glamour’, where Rivet parses a mazy logic and emotive cadence from disparate inputs of influence across the faces of club and experimental electronic musics. The succinct eight-track set builds on ground disrupted with his Mego debut ‘On Feather and Wire’ (2020), and its follow-up ‘L+P-2’, dedicated to Peter Rehberg, and his dog Lilo, with a sound that runs amok on conventions, liberally twocking from sources including YouTube, classic dance music, punk and whatever the fuck he likes, for an album brimming with moxie and surprises.
With an open heart and open minded approach to his thing, Rivet turns feelings of loss and disenchantment into an effusive, expressive LP that largely ditches the harder nosed industrial techno thrust of his work as Grovskpa or previous Rivet singles in favour of a recombinant style and pattern. He embraces a more queered and worldly purview in the melodic embrace and weightless dynamic of opener ‘Catch up to the Light’, and follows that sense of physics and feeling thru the strange distillation of influences from Tanzanian singeli and Het Zweet-like primordial industrial on ‘Orbiting Empty Cocoon’, thru to the fractal ambient whorls of parting piece ‘We Left Before We Came’, with double bass supplied by Gregory Vartian-Foss.
In the main body of the album his offbeat industrial urges come into play on the crunching dancehall displacement of ‘a highlight ‘Patitur Butcher’ (an obscure reference to the Queen Vic’s hardest landlady?), whilst the title of ‘Plastic Bag Putain’ instrumentally implies his politics in a brooding transition from serene to clenched industrial tension, and ‘Sacrosanct’ craftily recycles classic samples in a twin-rotored meat motor stepper nevertheless yoked back to mutant pop territory, and ‘Kyrie Geire’ indulges dark ambient-pop workshop at the altar of Coil x Threshold Houseboys Choir.
Boomkat Product Review:
On his 2nd ace LP for Editions Mego, Scandi club misfit Mika Hallbäck screws everything from singeli to dancehall and industrial EBM in a panel-beaten, sampledelic patchwork of madness ahead of his role on the upcoming Sandwell District album.
The wilder, dare-to-differ and boundary hopping spirits of Editions Mego and its dearly departed Peter Rehberg burn bright in ‘Peck Glamour’, where Rivet parses a mazy logic and emotive cadence from disparate inputs of influence across the faces of club and experimental electronic musics. The succinct eight-track set builds on ground disrupted with his Mego debut ‘On Feather and Wire’ (2020), and its follow-up ‘L+P-2’, dedicated to Peter Rehberg, and his dog Lilo, with a sound that runs amok on conventions, liberally twocking from sources including YouTube, classic dance music, punk and whatever the fuck he likes, for an album brimming with moxie and surprises.
With an open heart and open minded approach to his thing, Rivet turns feelings of loss and disenchantment into an effusive, expressive LP that largely ditches the harder nosed industrial techno thrust of his work as Grovskpa or previous Rivet singles in favour of a recombinant style and pattern. He embraces a more queered and worldly purview in the melodic embrace and weightless dynamic of opener ‘Catch up to the Light’, and follows that sense of physics and feeling thru the strange distillation of influences from Tanzanian singeli and Het Zweet-like primordial industrial on ‘Orbiting Empty Cocoon’, thru to the fractal ambient whorls of parting piece ‘We Left Before We Came’, with double bass supplied by Gregory Vartian-Foss.
In the main body of the album his offbeat industrial urges come into play on the crunching dancehall displacement of ‘a highlight ‘Patitur Butcher’ (an obscure reference to the Queen Vic’s hardest landlady?), whilst the title of ‘Plastic Bag Putain’ instrumentally implies his politics in a brooding transition from serene to clenched industrial tension, and ‘Sacrosanct’ craftily recycles classic samples in a twin-rotored meat motor stepper nevertheless yoked back to mutant pop territory, and ‘Kyrie Geire’ indulges dark ambient-pop workshop at the altar of Coil x Threshold Houseboys Choir.
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Boomkat Product Review:
On his 2nd ace LP for Editions Mego, Scandi club misfit Mika Hallbäck screws everything from singeli to dancehall and industrial EBM in a panel-beaten, sampledelic patchwork of madness ahead of his role on the upcoming Sandwell District album.
The wilder, dare-to-differ and boundary hopping spirits of Editions Mego and its dearly departed Peter Rehberg burn bright in ‘Peck Glamour’, where Rivet parses a mazy logic and emotive cadence from disparate inputs of influence across the faces of club and experimental electronic musics. The succinct eight-track set builds on ground disrupted with his Mego debut ‘On Feather and Wire’ (2020), and its follow-up ‘L+P-2’, dedicated to Peter Rehberg, and his dog Lilo, with a sound that runs amok on conventions, liberally twocking from sources including YouTube, classic dance music, punk and whatever the fuck he likes, for an album brimming with moxie and surprises.
With an open heart and open minded approach to his thing, Rivet turns feelings of loss and disenchantment into an effusive, expressive LP that largely ditches the harder nosed industrial techno thrust of his work as Grovskpa or previous Rivet singles in favour of a recombinant style and pattern. He embraces a more queered and worldly purview in the melodic embrace and weightless dynamic of opener ‘Catch up to the Light’, and follows that sense of physics and feeling thru the strange distillation of influences from Tanzanian singeli and Het Zweet-like primordial industrial on ‘Orbiting Empty Cocoon’, thru to the fractal ambient whorls of parting piece ‘We Left Before We Came’, with double bass supplied by Gregory Vartian-Foss.
In the main body of the album his offbeat industrial urges come into play on the crunching dancehall displacement of ‘a highlight ‘Patitur Butcher’ (an obscure reference to the Queen Vic’s hardest landlady?), whilst the title of ‘Plastic Bag Putain’ instrumentally implies his politics in a brooding transition from serene to clenched industrial tension, and ‘Sacrosanct’ craftily recycles classic samples in a twin-rotored meat motor stepper nevertheless yoked back to mutant pop territory, and ‘Kyrie Geire’ indulges dark ambient-pop workshop at the altar of Coil x Threshold Houseboys Choir.
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