Berlin’s musical landscape may be dominated by techno and house, but the city’s myriad subcultures and spirit of experimentation continue to draw in artists with ambitions alternate to the main halls of Berghain and Tresor. One emerging example is Yr Lovely Dead Moon, the solo project of producer, poet and performer, Rachel Margetts, who resides in the city having recorded her debut over a number of years in DIY scenes across Europe, spanning from Armenia to her home in the North-East of England.
A regular on the city’s spoken-word and experimental electronic scene, Yr Lovely Dead Moon’s self-titled debut is a wildly original album, whose influences span post-punk, musique concrete and EBM, lead brilliantly by Margetts’ own spoken-word narrative; wryly amusing, inquisitive and feminist poetry that recall the “gender-hynpotics” of Jenny Hval, if fed through the studio of Raime or Demdike Stare. Forward thinking and genuinely experimental, the record has a timeless quality that befits the smoke-filled air of Berlin’s late night kneipes, just as an uncertain Autumn creeps into the air.
On ‘The Object’, Margetts sees “the doors of repression flung open”, gamely confronting both her envy of the oppressor and the oppressor themselves, as sprawling guitars and dissonant percussion wind towards tension, then resolution. “Can I bite the hand that feeds me? The hand that fucks me beautifully, feeds me…”
Yr Lovely Dead Moon is released on Hot Concept on October 16th, with a launch party and listening session at Tennis Bar in Neukolln the evening prior, October 15th. The lead single ‘Physical Corpses’ is out now, accompanied by a remix from Gramrcy and Hot Concept founder, John Loveless.