Category: Reviews (Page 53 of 206)

TOBIAS BERNSTRUP Petrichor

18 August 2021 /


Following up 2018’s ‘Technophobic’ album, Tobias Bernstrup presents his long awaited sixth long player ‘Petrichor’ on the German independent label Nadanna Records.

A collection of intelligent political and historical observations set to music, the striking Swedish performance artist refines his “Italo Noir” template across eleven tracks, blurring the lines between electronic disco, synthpop, goth and post-punk.

The opening track ‘Maledicta’ provides a moody but melodic instrumental overture to set the scene.

But the superb club-friendly ‘Private Eye’ takes a look at the surveillance society in the spirit of TRANS-X with a throbbing starkness to hammer home the sinister voyeur narrative. Interestingly, an equally danceable if less frantic cousin ‘Stranger’ talks of a “stranger on the screen”, “disposable love” and a “devil in disguise”. It outlines how in the modern world, people care more about internet influencers and conspiracy theorists than family and friends, but Bernstrup himself is actually referring to online dating.

Like OMD, Tobias Bernstrup has regularly highlighted the darker aspects of technological innovation and ‘Challenger’ is thematically reminiscent ‘Enola Gay’ in presenting a tragedy in the form of a pop song with a clever dual meaning; it even uses a processed recording of Ronald Reagan’s “touch the face of God” address to the nation after the disaster for its ending. Meanwhile rather hauntingly and actually lyrically inspired by the very topic covered in ‘Enola Gay’, Bernstrup quotes J Robert Oppenheimer on ‘I Am Become’.

The start of the second half is crashingly punctuated by ‘Loderunner’, a strident instrumental statement with occasional vocoder phrasing.

The rhythmic dash of ‘Heartbeat’ is superb, chugging in triplets and orchestra stabs for a full Hi-NRG effect; a cover version of the Los Angeles rockers RED7 number from Michael Mann’s cult movie ‘Manhunter’, Bernstrup’s beautifully pulsating treatment offers a big improvement on the original. However, although ‘Staring’ does the full Italo with brassy synths stabbing away, it paradoxically captures the spectre of solitude to encapsulate the Noirish ethos of Bernstrup.

Continuing this theme, the steadfast ‘Petrichor’ title song utilises the pitched up choir samples as its tool of expression while ‘Into Oblivion’ is more swirly Eurodance while on the same lyrical gist. The Jan Hammer-inspired ‘Only One’ closes and reinforces Bernstrup’s outsider status as a purveyor of “Italo Noir”; melodic yet vocally more in common with Goth and EBM, it makes the Swede quite unique.

A worthy and enjoyable follow-up to ‘Technophobic’ using the vintage digital rhythms of the Oberheim DMX and LinnDrum as its heart alongside Korg PolySix basslines and Roland JX-8P pads, ‘Petrichor’ is as Bernstrup himself puts it, “a Film Noir in cold blue and pink light that you can dance to”.

‘Petrichor’ is released by Nadanna Records on 20th August 2021 in CD with 7 bonus tracks and 18 track digital editions, limited black or transparent magenta vinyl LP with lyric inner sleeve, A3 poster + numbered postcard available in October

The CD can be ordered from https://www.poponaut.de/tobias-bernstrup-petrichor-limited-edition-p-20549.html

http://www.bernstrup.com/

https://www.facebook.com/TOBIASBERNSTRUPOfficial/

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Text by Chi Ming Lai
18th August 2021

CATHERINE MOAN Drop It!

16 August 2021 /

Having treated the world with her charming cover of the Alan Wilder-penned DEPECHE MODE B-side ‘Fools’, Philadelphian songstress Angel Jefferson returns as CATHERINE MOAN with the self-composed ‘Drop It!’.

Coming from her forthcoming debut long player ‘Chain Reaction’, ‘Drop It!’ channels Angel Jefferson’s innocent sound in the manner of ELECTRIC YOUTH meeting STRAWBERRY SWITCHBLADE and MARSHEAUX via her own bedroom aesthetic. As she craves the nightlife after a year of lockdown confinement, her DIY approach carries over into the karaoke booth video for ‘Drop It!’ which illustrates the sense of fun behind CATHERINE MOAN with Jefferson happily performing to herself.

Dreamily floating over a classic four chord progression and eerily, if coincidentally, reminiscent of the great lost 1984 single ‘Summer Spies’ by FATAL CHARM, ‘Drop It!’ is the result of isolation yet is musically soothing and uplifting, despite a sombre apocalyptic understatement to “let’s keep this fire burning ‘til the record stops turning, ‘til the lights and the drugs stop working…”

While ‘Chain Reaction’ will not include ‘Fools’, as well as ‘Drop It!, the album will feature the airy CHROMATICS meets THE CURE moods of ‘Body Work’ and the punchy North American popwave of ‘The Ordinary’.

Along with DANZ CM, GLITBITER and MECHA MAIKO, CATHERINE MOAN is among the emerging crop of independent North American female synth artists who are demonstrating how modern pop can be self-produced, accessible yet artistic and considered. Not pandering to the mass market expectations of major record labels, they are projecting their own voices without interference and acting as fine role models, highlighting that reality talent shows are not the only way…

‘Drop It!’ is from the forthcoming album ‘Chain Reaction’ released by Born Losers on 24th September 2021 as a transparent electric blue vinyl LP and download, pre-order direct from https://catherinemoan.bandcamp.com/album/chain-reaction-2

https://www.facebook.com/Catherine-Moan-105421111625150

https://twitter.com/catherinexmoan

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https://open.spotify.com/artist/1j3eSDACLPhrEDYDkHYF9I

Text by Chi Ming Lai
16th August 2021

JAKUZI Hiç Işık Yok

11 August 2021 /

Istanbul-based JAKUZI released their debut album ‘Fantezi Müzik’ in 2017.

The musical vehicle of Kutay Soyocak, JAKUZI impressed with their 2019 second album ‘Hata Payı’ (translated from Turkish as “Tolerance”) with the NEW ORDER influenced synth driven post-punk anthem ‘Toz’ being a key track.

JAKUZI release their first new music in two years with a two song EP ‘Açık Bir Yara’. The best of the pair is the great new Italo flavoured song ‘Hiç Işık Yok’. The usual cowbells are substituted by processed pots and pans, while the mix of classic brassy Italo tones and chilling synth pads blend to create something rather unusual and extraordinary.

The approach to the vocal intonation on ‘Hiç Işık Yok’ recalls the sinister but celebratory club romp ‘Take Me To The Club’ by MANNEQUIN from the Electroclash movie ‘Party Monster’; it has been co-produced with Maurizio Baggio who mixed the most recent albums by BOY HARSHER and THE SOFT MOON. Working with the man from Vicenza, the Italian turned what had been a gothic futureless mood piece into a dark but catchy dance number.

Meanwhile the accompanying ‘Açık Bir Yara’ title song co-produced by Kerem Brumend takes more of a gothic vibe like an EBM flavoured DEPECHE MODE with Soyocak sounding perfect for its sombre mood.

Both songs show an increased use of electronics compared with JAKUZI’s previous output and were written before the pandemic crisis, but their release is timely as they address the world’s changing needs while many reconsider the priorities in their lives. Never afraid to address the sort of personal psychological and mental health issues not known for public discussion in Turkish society, JAKUZI continue to offer a voice of hope.

‘Hiç Işık Yok’ is released by City Slang as part of the ‘Açık Bir Yara EP’ bundle, available as a download from https://jakuzi.bandcamp.com/

https://www.jakuz1.com/

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https://open.spotify.com/artist/0xeyL5pfnTtx7LGpqLo4PG

Text by Chi Ming Lai
11th August 2021

NATION OF LANGUAGE This Fractured Mind

10 August 2021 /

‘This Fractured Mind’ is the best of the three trailers released so far by NATION OF LANGUAGE ahead of their upcoming second album ‘A Way Forward’.

Dealing with the spectre of unrealised dreams and jealousy towards more successful others, by the end of ‘This Fractured Mind’, any inferiority complex is countered with hopeful acceptance in line with the new album’s optimistic title.

Vocally like a majestic cross between THE NATIONAL and A-HA, NATION OF LANGUAGE are led by singer /songwriter Ian Devaney; his wife Aidan Noell on keyboards and returning bassist Michael Sui-Poi complete the line-up.

Using a rigid motorik backbone and capturing a danceable ethereal shudder, ‘This Fractured Mind’ breathes new life via its sprightly synth tones in a reference to the past. Although there is also some frenetic bass guitar grit to provide a hint of claustrophobia, the machines that had only been friends previously have now become family…

Possibly the nearest act musically to the much missed MIRRORS at the moment, NATION OF LANGUAGE seem to get synthier with each release. ‘On Division St’ from their debut long player ‘Introduction, Presence’ revealed itself to be a second cousin to NEW ORDER’s ‘Bizarre Love Triangle’ with its sharp synth lines and programmed bass triplets. But a late 2020 standalone single ‘Deliver Me From Wondering Why’ used a more blippy construction compared with the post-punk approach of their earlier work and explored the more experimental phase of OMD.

Ian Devaney’s artistic epiphany came when he heard OMD’s ‘Electricity’ in his father’s car for the first time in years, having grown up with it as part of his domestic soundtrack. Inspired to write songs with modern monophonic synths like the Behringer MS-1, Moog Sub37 and reissued Korg MS20, he adopted a fresh beginner’s mind towards the electronic pop form.

With such an affinity towards pioneering British new wave bands like NEW ORDER and OMD, NATION OF LANGUAGE’s tour of the UK in early 2022 could be seen as a sort of spiritual homecoming for the Brooklyn-based trio.

‘This Fractured Mind’ is from the upcoming album ‘A Way Forward’ released on 5th November 2021, pre-order from the band’s website shop or https://nationoflanguage.bandcamp.com/

NATION OF LANGUAGE 2022 EU + UK tour includes:

Copenhagen Ideal Bar (15th January), Stockholm Obaren (16th January), Oslo Bla (17th January), Berlin Kantine Am Berghain (19th January), Zurich Kater (20th January), Barcelona Laut (22nd January), Madrid Sala El Sol (23rd January), Paris Supersonic (25th January), Leeds Hyde Park Book Club (27th January), Glasgow Broadcast (28th January), Dublin Grand Social (29th January), Manchester YES Pink Room (30th January), London Lafayette (31st January)

https://www.nationoflanguage.com/

https://www.facebook.com/nationoflanguage

https://twitter.com/notionofanguish

https://www.instagram.com/nationoflanguage/

https://open.spotify.com/artist/5JWBow4ywgKNQ5HBxY8hcz

Text by Chi Ming Lai
10th August 2021

BRIGITTE HANDLEY & MATAHARI RANCH Köln Visions…

9 August 2021 /


Brigitte Handley is the Australian singer-songwriter who was the guitarist in the self-explanatory alternative rock band DARK SHADOWS.

2013’s ‘The Boy From Berlin’ indicated a fascination with Germany and after her first solo acoustic outings following the disbandment of DARK SHADOWS, Handley relocated to Cologne or Köln as it is called by the locals.

“When I began to explore ideas for the ‘Köln Visions…’ EP, I thought about how I could capture the moods and feelings that this city evoked in me when I first arrived as a stranger in a new land” she said; part of that new land was the murky world of synthesizers.

Like her fellow German-based Aussie Alison Lewis, Brigitte Handley possesses a resonant contralto delivery. Conveying the fear, uncertainty and wonder of a new artistic path with the help of the Sydney based creative collective MATAHARI RANCH, Handley explores electronics while remaining in touch with the post-punk influences of her former band.

A stark rap over a percolating backbone dominates the opener ‘Köln’ but on the sung choruses, a Doppler effect illustrates the tension of a U-Bahn ride in the cathedral city while icy string machines bolster the monochromatic chill; with Handley resigned to being “Alone again in Cologne again”, this pronouncement of gloom is exactly what Shirley Manson would sound like if she did darkwave.

The impressionistic ‘Daylight…’ utilises an almost audible rhythm construction swathed in a dense collage of synths and vocoders to provide the minimum of glimmer like an aural metaphor for the uncertainty of the past 18 months. Meanwhile, ‘Lament of a Lost Soul…’ is a MATAHARI RANCH rework of the DARK SHADOWS song from 2011 and is unsurprisingly the most traditional song offering on the EP; rooted in folk with doomy tales of “long lost souls”, it comes off well with a new foreboding drone accompaniment and minimal guitar.

With a shuffling swing, ‘After Dark’ is distinctly indie goth and is instrumentally so, before closing with the MATAHARI RANCH remix of ‘Still Lives…’ which presents the type of eerie cinematic ballad that Kat Von D wouldn’t be unhappy to record herself.

It is interesting to note that these two more guitar dominated songs that conclude ‘Köln Visions…’ have more dynamic presence than the first three electronica numbers which have a mushy DIY mix that lacks the impact of Alison Lewis’ work as ZANIAS or LINEA ASPERA. Saying that, that opening trio capture a distinct claustrophobia whether intentional or not.

‘Köln Visions…’ is an intriguing mix of European electronic music and dark goth rock to document Brigitte Handley’s current surroundings and state of being. She will find her feet as she develops her new sonic direction and this promising Maxi EP is a sign of more accomplishments to come.

‘Köln Visions…’ is released by Select-A-Vision as a 12” indigo blue coloured vinyl Maxi EP and download, available from https://brigittehandley.bandcamp.com/album/k-ln-visions-2

https://brigittehandley.com

https://www.facebook.com/brigitte.handley

https://www.instagram.com/brigittehandley/

https://www.facebook.com/matahariranchmars

https://www.instagram.com/matahariranch

https://open.spotify.com/album/02ho2ptGTXF9ldmyoIz8f0

Text by Chi Ming Lai
9th August 2021

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