Pioneers of alt hip-hop, Dälek (pronounced "die-a-lek") features Rapper/Producer MC Dälek, Producer/Live Electronics Mike Manteca, and Turntabilist DJ rEk . With roots in the mid-90's DIY scene, Dälek has been delivering ground breaking albums for over 20 years. They have encapsulated fans and critics across all genres, garnering fans and accolades from the Hip-Hop, Electronic, Indie, Metal, Shoegaze, Jazz and experimental communities.
After releasing 7 studio albums, numerous collaborations, EP's, and remixes, they are known for their large body of work and pushing boundaries with every release. Debut album 'Negro Necro Nekros' was released in 1998 on Gern Blandsten, 2002 saw Ipecac Recordings release the game- changing 'From Filthy Tongue of Gods and Griots' which was followed with 3 more releases on Ipecac Recordings- 'Absence' in 2005, 'Abandoned Language' in 2007, & 'Gutter Tactics' in 2009.
In 2010, Dälek went on a 5 year hiatus to recoup from a decade of relentless touring, and to focus on new musical projects. In January of 2015 MC Dälek said he "missed the noise," and a tour and new single quickly followed. 2016 saw the release of the critically acclaimed 'Asphalt for Eden' on Profound Lore Records, once again showing the music world their constant evolution sonically and lyrically.
FOTOCRIME is R ∞
A shadow simultaneously is and is not, a presence and an absence staking claim on the world. Fotocrime not only survives, but thrives in the shadows—beneath a heaviness that cannot be escaped, within melodies that defy light and dark. With South Of Heaven, the second full-length chapter in the project’s narrative, Fotocrime has found comfort on the fringe.
“It’s been a journey of persistence and obsession, more character actor than leading man,” R., the singer, songwriter, musician, and producer behind Fotocrime, says. “South of Heaven is deeply personal, an honest fiction, an exposed nerve pulsing in a blanket of fog.”
South of Heaven is the backlit highway slithering from 2018’s Principle of Pain, which bowed at the altar of post-street punks Blitz while nodding at the megawatt gleam of Depeche Mode and churn of Red Lorry Yellow Lorry. The stories comprising South of Heaven are winding and boundless, unfolding with unexpected paths and hairpin turns. Touching the myths of Saturn and Phaethon and mining the lives of Bruno Ganz and Francis Bacon, the album carves a landscape that spans both earthly and astral planes.
“This is a record for late night drives, a soundtrack for headlights illuminating the horizon,” R. says. “I’ll make music until the end of my days, with or without a listener, but I’m happy to have a passenger for the ride into the dark.”
The drive begins with “Invisible,” a probe into destructive compulsions and the unwanted attention that is yoked with recovery. A taut beat commandeered by Hayden Menzies of Metz marches in tandem with slack-jawed and syncopated guitar, laying a bedrock for R.’s staccato ruminations. Hitting like a hammer to the temple at one moment and soothing like a hand on the shoulder the next, “Invisible” keenly examines two sides of a coin that we’ve all wagered.