#Red Line II (127 Sätra C)

[daniellpyy]

[eseemeese]

Varg - Red Line II (127 Sätra C) 4 w/ Yung Lean [NE39]

[j7m1na]

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[theshatterednotes]

Varg - Red Line II (127 Sätra C) with Yung Lean

[megazork]

kedvenc zenek 2017

idén is kell ez :D bold ami még ezek kozul is kifejezetten allat volt :D

Motionen - Inveterate Listener Shlomo - Styx RIN - Monica Bellucci Pris - Etiquette Blawan - 993 Benjamin Damage - Montreal / Off World Remco Beekwilder - Rave Mood Capital Bra - Wer Hoch Fliegt Fällt Tief Bicep - Glue Bjarki - This 5321 Boston 168 - Khidi Raver (Fabrizio Lapiana remix) I Hate Models - Sorrows of the Moon I Hate Models - Eternal Loneliness I Hate Models - Totsuka no Tsurugi Capo - Lambo Diablo GT feat. Nimo Nthng - It Never Ends Nthng - The Traveller Rebekah - Code Black (Slam remix) Exilles - X Y (Boston 168 remix) Fabrizio Lapiana - Far Away Zanias - Follow the Body In Eternal Return (Dax J remix) Varg ft. Yung Lean -  Red Line II (127 Sätra C) 4 Varg ft. AnnaMelina -  Blue Line (112 Rådhuset) Yung Lean - Iceman Superpitcher - Little Raver ID - ID (Rebolledo @ ADE) MI EZ AZ ISTENCSASZAR SZAM WAAAAAA Joakim - On The Beach (Superpitcher remix) ROD - ID fossajatszott zene de sosem fog mar kijonni? Miami Yacine ft. Zuna - Grossstadtschungel Nh - Lothar UNER - Urantia (Petar Dundov remix) Fairmont - Shadows of Mine (Rebolledo’s Ride) Rebekah - I Died A Thousand Times Kas:st - 77:77 / 44:44 / 33:33 Acronym - Malm (full album) Luigi Tozzi - Yavin 4 Spooky - Celeste (Lower Level Edit) Laurent Garnier - From The Crypt To The Astrofloor Andre Salata - Symbols (Dubspeeka remix) Landslide - Signs of Change (Etapp Kyle remix) Umwelt - Outside Me Umwelt - Slave To The Rave Veil of Light - Trust (Phase Fatale remix) Rebolledo - Rainboy Superspacer (Superpitcher remix) Ufo361 feat. Gzuz - Für Die Gang Narvim - Abrupt SHDW & Obscure Shape - Die Dinge Des Lebens (Dax J version) Sigha & Rodhad - Bloom Guleed - Gänget Massa - Interference (Ness remix) Legowelt - Axumisia V S612 Niki Istrefi - Red Armor ID - ID (I Hate Models @ Verknipt ADE) - ez is mi elso track waaaaaaa, sosem vartam meg bulit annyira mint a februari a38 I Hate Modelst Nicole Moudaber & Carl Cox - See You Next Tuesday (Danny Tenaglia remix) Volruptus - Alien People Oscar Mulero & Inigo Kennedy - Catharsis Edit Select - LSL11 Chelsea Wolfe - Vex Kölsch - Push How to Disappear Completely- Mer Des Revs II (full album) Aquarian - Hamburglar Helper Ligovskoi - Lethe (Polar Inertia remix) Dark Sky - The Walker (Danny Daze remix) Mathew Jonson - ID - 45. perctol waaaaaaaaa gigaid Mikael Jonasson - Brytrejv (Morbeck remix) Guleed x Adam Aden - Vapormax 

[all-they-say-is-na-na-na]

Varg - ‘Nordic Flora Series Pt. 3: Gore-Tex City’

Young electronic producer Jonas Rönnberg releases his most expansive, diverse work to date, and it’s one of the most interesting albums of the year.

It is sort of weird to think that an album like ‘Nordic Flora Series Pt. 3: Gore-Tex City’ would even come to exist. Usually tied to labels like Posh Isolation or Northern Electronics (where he released this album), Jonas Rönnberg’s work as Varg is a combination of sparse ambient with beats wrapped up by an overwhelmingly dark atmosphere. But for some reason, he somewhat appeals to modern pop culture: PARTYNEXTDOOR sampled one of the his tracks for his third album, released last year via Drake’s label, without mentioning his opulent style and social media platform presence.

The third release in the ‘Nordic Flora’ series perfectly sums up everything he stands for to an extent. Described as a “fuck off, but it’s a smirking fuck off”, it combines different styles of music that he has dabbled into, as well as new forrays thanks to its collaborators, working as some sort of dystopian post-genre classification paradise where dark ambient, banging techno, R&B and ironic spoken word poetry all coexist under one nocturnal atmosphere. Opening track “Champagne Ceremonies” brings to mind one of the less noisy tracks from Prurient’s 2015 masterpiece ‘Frozen Niagara Falls’, being just about as ominous without being abrasive.

“Yamanote Line” feels like a urban take on Gas’s sound, with field recordings taken from what sounds like a populated street in Tokyo, is one of the most interesting tracks on the record despite the fact that it is one of the most minimal. “Platform Surrounded by Fences (EU)”, however, feels like a more pulsating club version of the previous track (even if it’s not as captivating) - it’s almost the ying to “Yamanote”‘s yang. Then, you get to “Forever 21/Valium”, and that is where things start to get wild. Featuring the voice of Chloe Wise, it sounds like midpoint between Jenny Hval’s poetry with Blue Jam, with a monologue from hers talking about self-love in the most bizarre, yet personal way possible. It’s simultaneously hilarious and disturbing.

Shortly after we have “Red Line (112 Rådhuset)”, which is odd and probably wouldn’t fit in the tracklist if it wasn’t for the heavy bass and the abstract beat that surrounds AnnaMelina’s heartbroken, autotuned lullabies. “Fonus” features live Nine Inch Nails member Alessandro Cortini and former Coil member Drew McDowell, and is the best, darkest and most textured ambient piece on the record, also being the polar opposite of the following track “Snake City/Maserati Music”, a straight up techno track with a very acid-like industrial vibe to it.

There is also another “R&B” track on the album featuring none other than already-iconic “sadboy” rapper Yung Lean, “Red Line (127 Sätra C)”, which has him rap-singing about “killing (his) fucking landlord” and basically, other typical Yung Lean stuff. The track itself has a techno section, which lasts for 5 minutes off of the song’s overall 8. It is unique and legitimately fun, probably the best thing he has been featured on. As you can see, there is a lot going on in this record, which makes it almost impossible to tackle everything.

One of the “problems” I have with this record is ow hard it is to talk about it as a whole - it is, in fact, 73 minutes long, and some of the better ideas might go accidentally under the radar. Still, it can be good way of representing Varg as a musician (for people unfamiliar with his music, it can be a perfect introduction to it) and since he is already working on the fourth part of the series, titled ‘Crush’, it will be exciting to see how is he going to follow such an ambitious work.

Highlights: “Champagne Ceremonies”, “Yamanote Line”, “Red Line ( 112 Rådhuset)” (feat. AnnaMelina), “Fonus” (feat. Drew McDowell & Alessandro Cortini), “Snake City/Maserati Music”, “Red Line II (127 Sätra C)” (feat. Yung Lean), “Euros & Euros & Euros” (feat, F Valentin & Chloe Wise)

You’ll like it if you like: Prurient, Lakker, Varg’s previous releases, Yung Lean

[trlcom-blog]

(Northern Electronics)

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Varg, Red Line II (127 Sätra C) with Yung Lean, 2017.

[indianaaaron]

Varg - Red Line II (127 Sätra C) (ft. Yung Lean)

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Saved on Spotify "Red Line II (127 Sätra C)" by Varg, Yung Lean https://open.spotify.com/track/3WTz4svCL6ouAD7E9AEWXL

[ricardosousalemos]

Varg: Nordic Flora Series Pt. 3: Gore-Tex City

A cursory search of Spotify turns up hundreds, if not thousands, of songs with the word “leather” in the title. The word “cotton” is not quite as popular, but it still turns up a bunch, and “silk” and “satin” are also in ample supply, while Pearl Jam, Beth Orton, and the Wedding Present have all paid tribute to the homely “corduroy.” But practically nobody makes records about Gore-Tex. Gore-Tex is not cool. It is functional, practical, preventative. It is the dad jeans of synthetic fibers.

The Swedish ambient-techno artist Varg clearly knows what he’s doing by citing the microporous membrane in the latest installment of what he’s called his “most honest and personal work to date.” The artist, born Jonas Rönnberg, loves mixing up conflicting signifiers. He makes records with titles like Misantropen, and his artist alias evokes the Scandinavian black metal of his roots, but he also peppers his Instagram with Gucci purchases, rolls of cash, and bottles of Moët. On last year’s Nordic Flora Series Pt.1: Heroine, he cribbed his song titles from the lyrics to Drake’s “Controlla.” (Some of this code-switching goes both ways: OVO’s PARTYNEXTDOOR sampled one of his bleakest dark ambient tracks on last year’s “High Hopes,” an example of gothic R&B at its most desolate.)

Look beyond the trickster antics, though, and Varg’s music belongs to a proud Romantic tradition where oversized feelings find their reflection in endlessly overcast skies. Early recordings presented a sound steeped in the loamy ambient drones of Wolfgang Voigt’s GAS project and the flotation-tank acid of Plastikman, as well as the chattering, insectoid techno of Donato Dozzy, and Gore-Tex City ventures even further, twisting up those influences into a brooding sound that is simply and unmistakably Varg.

“Champagne Ceremonies” opens the album with gothic dread, wrapping minor-key synths in sharp-edged handclaps like concertina wire; “Yamanote Line (原宿)” is an impressionistic snapshot of Tokyo’s public transit system, with muted television voices murmuring beneath electrical zaps and a steady, rolling pulse. Many of the album’s more rhythmic tracks seem inspired by the experience of rail travel: “Platforms Surrounded by Fences (EU)” flickers like metal grates glimpsed from a speeding train, though its mood is less suggestive of Kraftwerk’s optimism than it is of the socio-political anomie facing contemporary Europe. “Snake City / Maserati Music” is not so much a song as a steady gust of wind that buffets the listener in an unending volley of 1/16th-note toms and hi-hats, and “I Hope You Are Still There (新宿御苑)” channels the same thrumming technique into something closer to the melancholy style of Autechre’s Amber. One of the few beatless tracks here, “Fonus,” with Drew McDowall and Alessandro Cortini, sounds like a memory of ambient music that is being slowly erased by the built-up din of the city—a sorrow that has forgotten its own source.

This would all be enough to make for an engaging trip into the depths of Varg’s darkest moods, but, in keeping with what his label describes as “a smirking fuck off,” he can’t resist pulling out the rug every now and then. In “Red Line II (127 Sätra C) 4,” the cryptic Swedish rapper Yung Lean warbles despondently through Auto-Tune about suicide, Adderall, and wanting to kill his landlord. It’s just the kind of collision that delights Varg—Lean’s noxious swag-rap smeared like sticky syrup across techno’s brushed stainless-steel surfaces—but it’s also a lot to swallow for someone who isn’t already a fan of Lean’s adolescent nihilism. “Forever 21 / Valium” is far more successful. Here, over pitter-pat hi-hats and new age piano, the New York artist Chloe Wise intones a piece of text from her exhibition, “Cats not fighting is a horrible sound as well.” Over drones as broad and flat as a river delta, she addresses first a bouquet of plastic flowers and then a lover, her voice flat and without affect as she skips from non sequitur to non sequitur: “Would you bleed if I cut you? Do you ever have to pee? Do you have ears? Do potted plants hear? When will you realize I am a tourist?” The music’s ominous qualities only make the text seem that much stranger, as though the quotidian had been mashed up with the symbolic—like someone’s chat history projected against an apocalyptic sky, or a brightly colored Gore-Tex jacket dropped along the roadside somewhere in Sweden’s far north.