Category: Reviews (Page 23 of 199)

SIN COS TAN Living In Fear

21 October 2022 /

After a low-key return with the ‘Drifted’ EP in Autumn 2021, SIN COS TAN are fully back into their creative stride with a whole album of new material under the title of ‘Living In Fear’.

While ‘Drifted’ saw the Finnish duo of Juho Paalosmaa and Jori Hulkkonen inspired by the experiences of separation during the pandemic, with current events and the bear next door, ‘Living In Fear’ will resonate with anyone resident in Finland or anywhere in the civilised world. The premise of the fourth SIN COS TAN album is “Do you fear the dark, love, war, or yourself? Whatever the answer, you can be certain: Fear is a powerful thing.”

It was with Juho Paalosmaa’s other band VILLA NAH that Jori Hulkkonen first worked with his SIN COS TAN partner as co-producer; that 2010 album ‘Origin’ released had magic all over it and led to Paalosmaa and his VILLA NAH partner Tomi Hyyppä opening for OMD on the ‘History Of Modern’ tour. While VILLA NAH finally released a follow-up ‘Ultima’ in 2016, Paalosmaa and Hulkkonen had a chemistry that needed an outlet so SIN COS Tan came into being around 2012 as a “synthesized duo of great promise, broken dreams, and long nights”.

The ‘Living In Fear’ album has a rhythmic sub-PET SHOP BOYS opener in ‘You Again’ although it maintains a flighty chill while boosted by a catchy chorus that acts as a burst of escapist optimism. ‘More Than I Can Love’ enters housey Europop territory with ‘What Is Love?’ as a reference in particular, but the deeper drawl provides the offset like Haddaway doing ‘Enjoy The Silence’ with a Nordic twist. Meanwhile the windswept electro-motorik of ‘Endless’ uses the melodic synthy highs of OMD to counter the melancholic expression and drone laden backdrop.

Taking in a moodier introspection, ‘Live For Today’ opts for a crystalline midtempo diversion but ‘Tightroped’ offers a throbbing disco-friendly excursion with elements of DAFT PUNK, although a tormented voice captures the localised anguish. However with that storm in the air, ‘Own The Night’ takes a film noir approach coupled to multi-layered rhythm construction.

‘Killing Dreams’ is moody and almost AIR-like, the nocturnal atmosphere recalling SIN COS TAN’s eponymous debut but with more of a groove but ‘Solitaire’ takes atmospheric IDM elements for a smoky drifting sensation while chugging wonderfully like a locomotive that features gorgeous bursts of synths and a haunted vocal refrain reminiscent of 2012’s ‘Trust’.

Taking things down a touch, SIN COS TAN are ‘Not In The Business Of Forgiving’, but the closing number ‘War Time’ applies an array of keyboard motifs and a primitive drum machine for a strident theme climaxing with barrels of cinematic arthouse drama.

A prolific period between 2012 to 2015 saw the release of the ‘Sin Cos Tan’, ‘Afterlife’ and ‘Blown Away’ albums as well as the ‘Smile Tomorrow Will Be Worse’ EP, so applying that much creative intensity over such a short period of time was bound to take its toll. But after the toe dipping exercise of ‘Drifted’, it is clear that the hiatus has re-energised Paalosmaa and Hulkkonen. The end result is that ‘Living In Fear’ is SIN COS TAN’s best and most accessible body of work since their 2012 eponymous debut.

‘Living In Fear’ is released by Solina Records as a limited edition vinyl LP and download

http://solinarecords.com/sincostan/

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Text by Chi Ming Lai
Photo by Rainer Geselle
21st October 2022

SOFTWAVE Aspire EP

14 October 2022 /

As the title of the new SOFTWAVE EP suggests, every song on it has an aspiring story.

‘Aspire’ is the Danish synthpop duo’s first new body of work since they opened for OMD at the start of 2020 on the Scandinavian leg of their ‘Souvenir’ greatest hits tour.

The inspiration came after Catrine Christensen and Jerry Olsen were chosen to remix a couple of track for Andy Bell of ERASURE’s ‘Club Torsten’ collection. These songs document their own existential crisis over the lockdown period while seeking to motivate others to achieve new goals.

Opening ‘Aspire’ with the bittersweet superpop of ‘Thank You For Breaking My Heart’, it reflects on the positives of a toxic relationship ending, with shackles unlocked and new opportunities beckoning. Embracing the glistening shades of vintage ERASURE, this solo Christensen composition declares “Without you there’s no dark” as light shines again through this catchy Eurodisco with Olsen’s Clarkean interventions.

More rugged, ‘Supernova’ is the classic SOFTWAVE vein, with rousing verses and uplifting choruses over a backing track rich in counter melody akin to ‘Something Is Missing’. Dedicated to Andy Bell himself as a one of a kind worth looking up to, it also ably captures the bubbly poise of ERASURE.

With a fight back, ‘Don’t Bully Me Again’ gets its message across in a midtempo number seeking détente, while ‘Wake Up’ plays with rhythm variation to reinforce its tension, poignantly declaring “we’ve run out of fuel” as a challenging winter looms.

Ending with ‘This World’, this number is a highlight as it presents a darker austere than previous SOFTWAVE songs, with a depth that could point to a future direction. “We want people to go deeper and reflect on how they see the world today” said Christensen, “We just want people to think themselves”. Despite the sombre feel, it is a call to action that fits with the aspirational aims of this EP to encourage people not be afraid of the dark and to stick together.

As strange times continue, despite the adversity, there is always hope and it is a message that SOFTWAVE have provided clearly with ‘Aspire’.

‘Aspire’ is available digitally from https://softwave.bandcamp.com/

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Text by Chi Ming Lai
14th October 2022

ULTRAFLEX Infinite Wellness

7 October 2022 /


For their second album ‘Infinite Wellness’, the Berlin-based Nordic twosome ULTRAFLEX have got naughty.

Kari Jahnsen and Katrín Helga Andrésdóttir first came together in 2020 for a sexy sport and fitness inspired debut long player entitled ‘Visions Of Ultraflex’.

Compared to their debut, the approach to ‘Infinite Wellness’ feature more variations in style while being pop and more experimental simultaneously. There is more of a Mediterranean feel but there are inflections of funk, soul and even jazz, but it is all pushed passed through the ULTRAFLEX filter.

With a dose of ingles, opening song ‘Relax’ is a crystalline and gently funky. salute to Autonomous Sensory Meridian Response. ‘Baby’ though the song is about romantic endeavours although it is also all about ULTRAFLEX’s creative chemistry; the end result is a bright and breezy romp with a solid electro-disco backbone.

With jazzier cocktail grooves and “Mascara down your cheeks, Bacardi in your drinks”, ‘Rhodos’ celebrates those favourite sunny destinations such as Mallorca, Ibiza and Rhodes, inspired by their own experiences of avoiding sunburn, binge drinking and laughing at pasty boys with beer bellies.

With a fluent flirtation of body language, ‘Mi Vuoi’ featuring Italian performance artist Kuntessa places steel drums and sax chatter over a clubby trance house setting to display their faux innocence and devious charm. With a more R ’n’ B slant and inspired by Usher’s ‘Climax’, the soulful and moody ‘Melting Away’ is less boisterous and adds ULTRAFLEX’s girly club rap.

With chilled sea air vibes, ‘Ultrasex’ is a provocative play on the duo’s name with the resulting groove, saxophone and ‘wah-wah’ recalling a vintage erotica soundtrack. Meanwhile ‘Under The Spell’ begins with nonchalant spoken words but sparkles as our heroines get seduced.

Closing with the gorgeous sweetness of ‘Run’, the laidback cuteness gets its point across in just 2 minutes.

Balancing out their electronic template with more live elements like drums, saxophone and guitar, ‘Infinite Wellness’ shows development in the ULTRAFLEX sound while continuing with the coy playfulness that made their first album so appealing.

‘Infinite Wellness’ is released by Street Pulse Records as a vinyl LP and download, available from https://ultraflexband.bandcamp.com/album/infinite-wellness-album

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Text by Chi Ming Lai
Photo by Blair Alexander
7th October 2022

DAWN TO DAWN Postcards From The Sun To The Moon

6 October 2022 /

First coming together in late 2018, Montreal trio DAWN TO DAWN are releasing their first full length album ‘Postcards From The Sun To The Moon’.

Comprising of Tess Roby, Adam Ohr and Patrick Lee, DAWN TO DAWNDAWN TO DAWN combines Roby’s forlorn introspection as heard on her first two solo albums ‘Beacon’ and ‘Ideas Of Space’ with Ohr and Lee’s dance-derived templates as THE BEAT ESCAPE.

With no-one style dominating over the other, this sonic sandwich has produced an intriguing sound to be savoured.

A slow burner in its realisation, the songs were created through communal jam sessions with off-the-cuff lyrical interventions before editing and processing. With a gentile start, ‘Anniversary’ drifts into the ether to welcome the listener into the world of DAWN TO DAWN with ethereal vocals, synthetic soundscapes and absorbing drum machine mantras.

‘Meridian’ is a fine example of this more uptempo approach of DAWN TO DAWN compared to solo Tess Roby productions; while the songs have a dreamy melancholy in common, moving from low to high in its fabulous multi-faceted vocal arrangement, there is a understated danceable quality within the subtle textures.

Expanding the template, ‘Care’ is interesting and unconventional in that a sung lyric doesn’t appear until almost halfway through the track. Nocturnal yet rhythmic, with an alluring folk-tinged vocal to offset the understated synthetic overtures, there are enigmatic skatted vocals in the vein of Dot Allison for the first two minutes before Roby presents her more coherent contralto over its hypnotic synthbass and crisp rhythmic construction.

Adopting a bouncing percussive groove, ‘Samba’ features some very absorbing multi-layers and manages to not be too forceful while almost harp led, ‘A Colour Named By You’ is much sparser and devoid of drum machine, coming over more audibly reminiscent of Tess Roby’s own solo work.

Presenting an important message, the trance soundscapes of ‘Ecology’ are crystalline and hypnotic in their aural expression which could even be considered to be romantic. ‘With U’ is proof that danceable rhythmic music can be understated and doesn’t need to be overtly loud with hints of Finnish duo SIN COS TAN in its pretty keyboard motifs.

Meanwhile ‘Stereo’ captures that joy of music which can be a communal or solitary experience, functional or incidental, is marvellously infectious with a breezy allure captured and understated synthesized danceability.

Acting as a fine and fitting closing number, the beautiful ‘Lanes’ is inspired by the tranquillity and seasonal deserts of British seaside towns like Brighton; with a soft forlorn air and the eerie moods of the late Julee Cruise, it displays an artistic kinship with Jorja Chalmers whose recent album ‘Midnight Train’ was inspired by her home seaside town of Margate.

‘Postcards From The Sun To The Moon’ is a wonderful toe-tapping record that captures the 2am wind down of a house party where some people still want to dance, albeit in more a more tranquil, less boisterous manner while others quietly do some tidying up but no-one wants to leave yet. As DAWN TO DAWN themselves say “this album is meant to be enjoyed with or without a fixed destination in mind”.

‘Postcards From The Sun To The Moon’ is released by SSURROUNDSS in CD and digital formats, available via https://dawntodawn.bandcamp.com/album/postcards-from-the-sun-to-the-moon

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Text by Chi Ming Lai
Photo by Christopher Honeywell
6th October 2022

UNIFY SEPARATE Music Since Tomorrow

5 October 2022 /


This is ‘Music Since Tomorrow’…

The Scottish Swedish pairing of Andrew Montgomery from GENEVA and Leo Josefsson of LOWE release their second album together, but their first under their extended UNIFY SEPARATE moniker. As the duo formally known as US, they impressed with their 2019 debut album ‘First Contact’ which successfully combined the soaring vocal aspects of British indie with the melodic melancholy of Nordic synth. Shaped by the worldwide pandemic and Montgomery’s own confidence crisis following the end of a relationship, ‘Music Since Tomorrow’ looks at the future in an uncertain world.

As a result, a denser sound is presented, augmented by more guitars than before. The album also benefits from Josefsson’s intense study of music theory and studio reinvention during lockdown. In some ways, this record is also Montgomery’s reconnection of sorts with his past as the front man of indie band GENEVA, reinforced by UNIFY SEPARATE opening for former Nude label mates SUEDE on their recent ‘Coming Up’ 25th anniversary show at Stockholm Annexet.

Documenting a period of personal struggle, ‘Music Since Tomorrow’ attempts ‘Closure’ and this epic album opener sets the scene with a building atmospheric trance tune that simply mesmerises, especially when Andrew Montgomery hits his trademark falsetto. Meanwhile ‘Dying On The Vine’ provides a slice of industrial Schaffel not dissimilar to Swedish doompopsters TITANS but with an impassioned vocal high instead of a deep baritone.

Like DEPECHE MODE meeting MUSE before bursting with spicy arpeggios, ‘Solitude & I’ morphs from a drum ‘n’ bass lilt into a blistering mutant attack. Montgomery does not let up with his Jeff Buckley inspired delivery, reflecting his isolation and unsettlement.

First released in 2021 and one of the best songs of that year, the outstanding ‘Embrace The Fear’ touches on the existential crisis at a life’s crossroads. Josefsson’s machines channel DAFT PUNK and NEW ORDER while guitarist Christian Persson chops in to ramp up the intensity. With a topline inspired by MUSE’s ‘Uprising’ and / or Billy Idol’s ‘White Wedding’, despite its emotive melancholy, ‘Embrace The Fear’ possesses a defiant motivational message.

Taking the pace down as “it is time for us to go”, ‘Visitors’ is balladeering close to U2 territory with its guitar inflections and military percussion. However, the rhythmic electronic rock of ‘The Void’ sees Richard Oakes from SUEDE do a masterful guitar turn as schizo children’s voices ask “where are you?” like a haunting journey into The Upside Down, while rousing NEW ORDER-styled synthetic strings settle into the coda.

‘Radio Waves’ has echoes of GENEVA with its chopping virtual string section and why not, while with a simple but strong distorted hook, ‘The After’ looks at post-traumatic stress following heartbreak with a thumping electro-indie backdrop.

Using rugged electric bass to provide the gloomy austere, ‘Way To Love’ displays some weary expressionism as church chimes get dropped into a mix that features guitars, synths and drums galore for a towering climax. Bouncing into a weighty Schaffel two-thirds in, ‘Waiting Game’ points towards a spirited adventure with strident six string interventions courtesy of Richard Oakes.

Then with a hypnotic mantra comprising of voices and keys like a Philip Glass miniature-symphony, ‘In Over My Head’ eerily closes the album on an icy note and as Montgomery emotes like a tortured soul, Josefsson provides additional drama with bursts of Jarre-like laser harp.

A darker, more indie sounding album than the US debut, although ‘Music Since Tomorrow’ is swathed in expressions of emotional conflict, anxiety and self-doubt, unlike THE CURE’s ‘Disintegration’, there is light at the end of the tunnel in its indie-electro cinematics.

Despite the midlife sorrows, UNIFY SEPARATE have provided a collection of glorious pandemic pop to savour.

‘Music Since Tomorrow’ is released on 7th October 2022, available direct from https://unifyseparate.bandcamp.com/

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https://open.spotify.com/album/6jPsbHt8uoSM0kEacwynyx

Text by Chi Ming Lai
Photos by Mehdi Bagherzadeh
5th October 2022

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