Out 18th August via Fysisk Format
Okkultokrati once again address the public with Night Jerks, an album created to spread confusion and despair.
The time towards the album release has been marred by hardship and insecurity for guitarist and songwriter Pål Bredup, who has been struggling with an aggressive muscular disease. “All the frustration and pain from the last twelve months has been documented on Night Jerks. Every beat has been an attack on the body,” Bredup says. The illness led to him temporarily replacing his guitar with a synthesizer in both Okkultokrati and Haust. As a result, the synth is heavily represented on Night Jerks, even though Bredup by now has picked up the guitar again.
Also on guitar is newcomer Milton von Krogh of Pirate Love, who has recently joined the band permanently, as well as producing the album. Von Krogh has also recorded and mixed records for both Haust and Årabrot in the past year. Milton’s guitars provide the band with a sharp and ice cold edge, and he is also the only member of “Oslo-band” Okkultokrati who is actually born in the capital.
Night Jerks is a record, where chilly, modern reality gets its musical counterpoint. But the album is no soundtrack of frustration – instead, the listener is introduced to an introverted, contained and harmonious piece of music where a focused band creates their cosmos. “Moon Daggers” and the title track continue the familiar Okkultokrati sound, while “The Ladder (Punched Out)” is reminiscent of The Birthday Party at their hairiest. Synth and alternative percussion characterize both ends of the album (not least in the monumental closing track “Cosmic Wynter”), and channel Okkultokrati’s fascination for dark music’s high priest, Austrian musician Zero Kama.
While the previous albums were produced by Ruben Willem (No Light for Mass, 2010) and Emil Nikolaisen (Snakereigns, 2012), Night Jerks is produced by the band. Milto n von Krogh and Pål Bredrup have maintained full control at Tåkeheimen studio. The result is the ultimate Okkultokrati record, where the band’s primal punk finds its place in a captivating beat, filled with floating guitars and rumbling synth.
The album is mastered by Paul Hammond, who (besides from playing in the world’s biggest Led Zeppelin tribute band) has mastered releases from Marissa Nadler and Bonnie “Prince” Billy.