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Amber Teaser - "Human Ritual" - by Maxymox 2020

immage Amber Teaser is a virtuous Italian electro-project founded in 2018, whose line-up is composed by Mimmo Modeo ( vox ) , Antonio Iacca ( synth / programming ) and Teo De Cillis ( synth / programming ) . Each of the three members descends from musical experiences totally different from that one impersonated in their current band: in fact, Antonio was part of the punk-metal ensemble The Sovran, Mimmo played in the rock formation called Forks and in the alt-rock / funk / psychedelic Bellalingua, while Teo played both in the aforementioned Forks and in the technical death / thrash set Cosmic Heresy. Amber Teaser was born with the intention of spreading a sound that musically expresses mainly the dualism between the 'technical' and emotional aspects that characterize Taranto - the industrial city from which the protagonists come - so they love define their style as 'industrialpop', that is a balanced, elegant combination among synthpop / new wave / krautrock and italo-disco, elements enriched by a minimal post-Kraftwerk formulas. The result is electronically harmonious songs, often danceable, full of 80's recalls, sometimes hardened by rougher, alienating sounds, in a whole of midtempo / downtempo rhythms, sequenced symmetries, electric guitar fuzz-distortions, melodious keyboard extensions and a clear, intelligible vocalism, episodically melancholic and obscure, always catchy in its fascinating intonations. Identically to the sound-system, also the lyrics deal with contrasting themes directly connected to the sensitive human dimension, in opposition to the cold and speculative ones of the factories: existential dramas, visionarity, inner torments and disillusionment therefore intertwine in an effective synthpopish / waver musicality. The debut album "Human Ritual" ( 2019 / ScentAir Records ) represents today the band's first and only record publication; consisting of nine tracks - including the 'Hal-O-Ween Mix' version of the song "Dancing In A Restaurant" remixed by the German synthpop / futurepop / EBM platform Nova-Spes - the release externalises all the talent of a band rooted in the present times but at the same time disciple of the unforgettable 80's decade, worthy of being considered as one of the most interesting, new realities of the entire European underground scene in its specific genre, especially for having been able to give its music an indelible mark of authenticity, of refined decadence and of communicability. Gloriously Amber Teaser!

The best tracks of "Human Ritual", chosen for you by Vox Empirea:



- "Go Out From This Chaos" : the 'very-waving' / post-punk / synthpop instrumental aestheticisms of the solemn introductory phase herald an intensely atmospheric song, composed through midtempo drum-programming lines synchronized with the sequencer hatches, on which they rise suggestive flows of keyboards, an euphonic New Order-oriented guitarism and vocals full of bitterness. Danceability, meaningful lyrics and an irresistible 80's charm verticalize amazing sonances among which to get lost, escaping from confusion, abandoning themselves to a long, solitary contemplation of a fiery red horizon.

- "Here" : also available in video format, this new wave / synthpop episode is harmoniously punctuated by the cold luminescences of the synths and of the sequencer, electrified by the alienating riffs of the guitar, punctuated by the metronomic midtempo drumming and further made compelling by the shady chant by the vocalist full of ecstatic nostalgia, whose verses are flanked by the seductive counterpoints of the guest-singer Sarah Caprino. Performance of a disarming purity. Memorable.

- "Dancing In A Restaurant" : by the skilful interaction among new wave / synthpop and Italian-disco chromatisms, an immediately assimilable track arises, devised with sentimentality and with an excellent perception of sound beauty. The harmonious grooves of the keyboards project notes that enchant, while the romantic vocalism of the singer - embellished by the equally persuasive one of Sarah Caprino - together with the midtempo scans of the drum-programming and with the symmetrical pulsations of the sequencer, propagate velvety, softly danceable arias permeated by supreme grace.

- "Human Ritual" : the electronic / wavish / synthpop orchestrations of this chapter pay homage to the most illustrious 80's reminiscences, transporting the imagination into a sonic Eden to be overlooked in slow-motion mode with meditative participation. The two phases of the track initially feature a melancholic chant crossed by long pads and by a minimal, sectioned downtempo percussiveness, the same one that in the second cycle of the song draws essential intermittences, on which emphatically fluctuate bombastic keyboards, sequenced patterns, 'heavenly' chords and telegraphic impulses, all this in a triumph of symphonic, industrial technologism.

Conclusions:


In the debut album of the newcomers Amber Teaser converge musical schemes of excellent quality, in which intuitions worthy of a highly inspired inventiveness are denoted. The thematic concepts, the sonic alchemies and the vocality of this release are prodigious, subtle energies capable of involving the listener during every single act of the tracklist. "Human Ritual" is a mentally penetrating creation, executed by expanding the ability to 'play the emotions', an art of which the band demonstrates extreme knowledge. Full-lenght to be owned without esitations. Not even with all our imagination would we have expected such splendor.

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Agregat - "Left Behind" single - by Maxymox 2020

immage The Norwegian Eirik Askerøi ( vox / guitars / synth / programming / production ) and the German Kyrre Tromm Lindvig - aka 'Tromm' - ( vox / drums / synth / programming / co-producer ) are the creators of the duo-act Agregat, founded in 2003, perfected over the years and today synonymous with a perfect artistic interaction. Both fans of the alternative 80's synthpop / new wave / post-punk scenes and of their major exponents, the two protagonists, after an initial phase of adaptation, decided in common agreement to establish a sound design that drew inspiration from the reminiscences of that old, unforgettable decade, but which at the same time able to keep its own authentic identity, spreading a technologically advanced, communicative musical style, strongly melodic and highly attractive. Over the years the Agregat's line-up has integrated the following external musicians who collaborate occasionally as live performers: Sigrun Gomnæs ( drums / maletKat ) - member of the Norwegian contemporary music band Pinquins - Kristoffer Carlsen ( drums ) , Oyvind Mjelve Strandem ( keyboards / additional noises ) and Andreas 'Ljudkarl' Moe ( sound engineer ) , this latter still present in Agregat in the role of responsible of mixing and of lights-setting in the numerous concerts. Eclectic and remarkably enterprising, the skilled guitarist Eirik with he excellent percussionist Tromm come from experiences gained in various Norwegian projects, within which they have increased a solid professionalism and the precise knowledge of what it takes to conquer the public: in fact, Eirik was part of the jazz / pop band called Falleba, militating both in the children music platform called Pling as well as in the afrobeat / reggae / pop-soul band Queendom, while Tromm was the drummer of jazz-ensemble Quarter Past. However, although they play separately in a wide range and even allowing themselves some long interpauses, the two interpreters always respond faithfully to the recall of their Agregat project, through which they express a great compositional talent in studio and an engaging contact with the fans during the live sessions. Formulated through the best Instrumentations and eloquently illustrated, the musics of Agregat has joined an high level quality: it is the winning combination among synthpopish / electro / futurepop / EBM and vaguely new waving elements, played with the intent of transmit to the listener the sense of avant-garde melodism and dance, entertaining him continuously from the first moment of the songs to the end, all by limpid, fresh, essential post-Depeche Mode / post-New Order, post-Kraftwerk sounds, consisting of midtempo rhythms, symmetrical sequenced lines, harmonious keyboards, decorative guitar counterpoints and a catchy vocalism intoned with extreme clarity; these are the main connotations that characterize the entire discographical repertory of the power-duo, which chronologically mentions the debut album "Agregat Salutes You" ( 2009 / Jejune Productions ) , followed at first by the Agregat's 'Perversion For Profit Mix By Agregat' version remix of the song "Red Rain" by the Norwegian EBM / industrial duo Kant Kino, included in their anthology "We Are Kant Kino: You Are Too" ( 2010 / Alfa Matrix) and later by the legendary single "The Runners" ( 2018 / self-produced ) - mastered by Morgan Nicolaysen and mixed by Swedish sound engineer Stefan Sundström - succeeded then by the single "Funkhaus" ( 2019 / self-produced ) - mastered by Morgan Nicolaysen and mixed by the IDM / techno / downtempo mastermind Knut Petter Sævik - concluding with an important participation in the compilation "Neonautics V. 03" ( 2019 / SkyQode ) with the track "The Runners" and finally with this new single "Left Behind" ( 2020 / self-produced ) now reviewed by Vox Empirea. The texts of Agregat, cultured and often metaphorical, analyze abstractly or realistically the inner aspects of existence, the individual behaviors and the global social-politic sphere, treating in parallel also novel themes, which meanings are transformed into strophes full of vivid symbolism. The track "Left Behind", precursory of the next, long-awaited album, is the distilled, evolved and more than ever effective substance of what could be defined reasonably the 'Agregat sound': it propagates splendid synthpop / futurepop / new wave / electro sonances in which we can perceive indirectly distant 80's memories, through snappy midtempo drum-programming cadences, precise sequencer sections, bright keyboard embellishments and through an irresistibly melodic, enthralling chant. Evaluation 10 out of 10 on every point of view: the synergy Eirik / Tromm possesses the ability to convert every single note into a triumph of listening pleasure.

Conclusions:


Modernist atmospheres, danceable dynamism, electronically euphonic instrumentality and vocal elegance, are the super credentials of "Left Behind", an intelligent and representative song that confirms once again the musically superior height of this duo. The structures of the track, expertly technologized, encode a sound-system that has become the distinctive register of a project in progressive growth, launched faster and faster towards its definitive, well-deserved success. Exceptional, as only a few artists can be. We love Agregat, we follow Agregat, we believe in Agregat.

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Iamnoone - "A Primitive Trinitas" - by Maxymox 2020

immage The Italians Iamnoone can be reasonably described as a phenomenon with extraordinary compositional resources, as well as representing one of the best emerging proposals on the European alternative scene. The duo-act, founded in 2018 by Philippe Marlat ( vox / bass VI / synth / guitar ) and Stephan Seth ( bass / piano / backing-vox ) , stands out for the authoritativeness of its obscure, engaging sound imprint, resulting from a solid background of experiences gained respectively by Philippe through his gothic rock / darkwave solo-venture called Marlat and by Stephan within the Italian new wave / post punk band Nokeys. The definitive partnership between the protagonists, anticipated by previous collaborations, arose spontaneously in a training phase held on the occasion of a concert, a period during which the two musicians felt the need to concretize a common project through which to develop a style that would fully enhance the executive skills of both and at the same time spreading in an intelligible way, shaping them into a single register, the intuitions, the sensations and any other form of creativity aimed at the effectiveness of a musicality that is as authentic, communicative as possible. In Iamnoone's music converge multiple meanings, earthly and transcendental, each of them analyzed through a deeply introspective investigation and then illustrated by crepuscular notes, embellished with cultured texts, ranging from materiality to spirituality, from metaphysics to philosophy, from existential dilemmas to primordial aspects l inherent in Man. The current duo's sonances, consisting of a refined cold wave / darkwave / occult wave / post punk calligraphism and characterized by a perfect coordination between instrumentality and vocalism, are transformed into vibrations that lead to concentration, transporting the listener to more unfathomable recesses of his psyche through 'mind expanding' harmonies of guitar and keyboard, combined with the dark, melancholic intensity of the chant, with the linear midtempo sections of the drum-programming / sequencer, with the circular intermittences of the bass and with romantic piano counterpoints . The official discography of Iamnoone initially mentions the Extended Play "Dvplex" ( 2019 / self-released ) , followed by the digital single "Mantis / Moonspell" ( 2020 / Cold Transmission Music ) and by the debut album "A Primitive Trinitas" ( 2020 / Cold Transmission Music ) now reviewed by Vox Empirea. As the full-length title itself subtly suggests, the tracklist, consisting of ten songs, is divided into two conceptually opposed chapters: the first five tracks of the "Primitive" phase in fact dedicate their themes to the ancestral condition and related internal dramas, while the second five tracks of "Trinitas" scrutinize in turn meanings about transcendence. However, despite the radical differences among the atavistic instincts belonging to the "Primitive" cycle and the mystical abstractionism belonging to "Trinitas", there is a close connection that unites these two spheres: the primary elemental and carnal origins are investigated, reformulated and subsequently separated from their physicality, then placed in a dimensionally more complex and evolved perspective which finally modifies their interpretation. Visionary, intimate music, composed through orchestrations capable of seducing the imagination, leading it into a dark and at times incubotic sound corridor, within which it will be impossible to distinguish dreams from reality. After listening to this release you will be convinced that the tangible, effective conjunction between materialism and surrealism is no longer a utopia.

The best tracks of "A Primitive Trinitas", chosen for you by Vox Empirea:



- "A Fading Memory" : drum-programming / sequencer in symmetrical midtempo mode, suggestive keyboard extensions, systematic guitar arpeggios and regular bass patterns, form the instrumental bases on which reverberate the vocals, pronounced through fascinating ebony coloured tones. Ancient memories that seemed forgotten are now evoked by the abysses of the unconscious, slowly channeled by the senses to the surface of awareness, all in this extremely atmospheric, polarizing cold wave / darkwave / post punk song.

- "Hopeless" : the whippy midtempo synchronicities of the drumming and the hatches of the sequencer propagate a danceable percussiveness, while the guitar ornaments, the alienating nostalgia of the singing, the martial chorality and the misty flows of the synth, perturbate the sound, making it spectral, nocturnal. The icy touch of the cold wave synergizes with the electronic obscurity of the darkwave and with the psychotic inflections of post punk, metaphorically depicting the torpid, smug annihilation of Man. Destabilizing.

- "Stillborn" : The predominantly darkwaving / cold wave melody of the track is sublimated by a vocal-keyboard planning of great effectiveness, capable of projecting chimeric images on the screen of fantasy. The composition gives a new life to broken dreams, this through a velvety syllabized, infinitely melancholic chant, supported by the euphonic union among keyboard, guitar and bass, on which decadent piano notes hover. Chords full of passion and emblematic strophes make the listener sink into an emotional ocean. Memorable track. Impossible to define it differently.

- "Mantis" : cold wave / darkwave / post-punk song gravitating around the universe of relationships and sexuality. The performance takes place through slender scans of drum-machine and midtempo dancing-oriented rhythms, in support of the noble vocal configuration surrounded by sadness, on which replicated guitar scales, ecstatic keyboard pads, circular bass cadences and graceful punctuation of piano. You will contemplate the singing elegance and the harmonious gloominess of this episode full of mesmerizing power.

Conclusions:


The dark charisma of the musics meets the precious value of the lyrics, originating a wonderful sonic choreography that will instantly conquer every lover of this genre. The excellent prerogatives revealed in this album by Iamnoone go beyond the ordinary; the modulations, impeccably structured, open gates of immensity, making the border that separates illusion from objectivity invisible. "A Primitive Trinitas" is a generator of reflections, the exploration of interiority observed through a mentally advanced perspective, the silent embrace between the flesh and the highness of the ésprit. Every note, every word on this album deserves to be remembered forever.

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Miseria Ultima - "Graygarden" - by Maxymox 2020

immage Every biographical and discographical informations regarding the Finnish duo-act Miseria Ultima can be found in the report of the excellent debut album "Phosphor" ( 2017 / Advoxya ) published on Vox Empirea pages in the reviews section of 2018. During the last three years Aleksi Martikainen ( vocals / lyrics ) and Kimmo Huhtala ( synths / programming ) have further perfected their personal, multiphasic dark electro / trance / EBM / industrial / gothic / darkwave style, developing prospectively the sonic bases of the previous full-length through an effective compositional process aimed at even more engaging tactical schemes. The target was perfectly achieved with the sensational ten tracks included in "Graygarden" ( 2020 / Advoxya Records ) , an album in which we can notice the important structural progress accomplished by the project, meker of a strongly dance-oriented technological musicality combined with significant texts pronounced through an incisive, charismatic vocal timbre. The sound system planned by Miseria Ultima has an high energizing power, capable of stimulating and activating the listener's sensoriality: the exuberance of the midtempo / uptempo beats of drum-programming, the precise sequenced lines, the futuristic melodism of the synths and the singing charm characterized in every episode by cold, punctuated vocalizations or by aggressive harsh inflections, generate whirls of authentic electronic pleasure. The power-duo converts without compromise sounds into pure dynamism, dragging the hearing into a deflagrating dimension of notes sometimes abrasive and poisonous, sometimes limpidly and rationally harmonized, all this while always maintaining a constant, very high level of entertainment. This release interprets and proposes in a sublime way what every true electro-fan wants: he will be inebriated by an irresistible technological advanced tracklist full of incredibly catchy sonorities. An amazing, super talentedly and motivated duo, soon destined to equalise the prestige of the most illustrious bands belonging to this specific genre. The new release is the glorious, awaited return in the scene of Miseria Ultima scene, as well as being the ideal opportunity to get to know and appreciate the phenomenal ability of two protagonists. Aleksi e Kimmo walk with supreme pride in their sound garden, in which stand out the primary colors of their great music, but also an inedited nuance that will change your perception of the gray color forever.

The best tracks of "Graygarden", chosen for you by Vox Empirea:



- "Bayonet Of Her Arms": rationally sung vocals, precise midtempo cadences of drum machine, punctuation of sequencing and melodic counterpoints of synths, create suggestive, irresistible dark electro / industrial / EBM darkwave landscapes. The sound of the track, elegantly technologized, is suitable for staging a sinuous, robotic dance among androids.

- "Circuit In The Scars": formulated through avant-garde dark electro / industrial aestheticisms, the song spreads a vocalism spelled out with mechanical coldness, over which gravitate the midtempo pulsations of the drumming, the hatches of the sequencer and the harmonious sections of the keyboards. Metronomically danceable, this chapter emanate streams of sound magnetism that attract with surprising rapidity. Internalizing this music is an experience that borders on the sublime.

- "Future Imperfect": pneumatic uptempo percussiveness, sequenced symmetries, systematic synth grooves and an alternately well-defined and angry chant, intertwined in an incandescent dark electro / industrial / EBM clubby context. A great track that will test your physical endurance in dancefloors.

- "Temple Behind The Shades": immense, encircling floods of electronic matter form the substance of this dark electro / industrial / EBM / darkwave song, surrounded by a subtle, dark gothic aura. The regular midtempo pulsations of the drum-programming are synchronized with the intermittences of the sequencer, while the keyboards emit compelling harmonies and the voice exposes the text with icy intensity. Impossible to remain motionless. Stand up and dance!

Conclusions:


Admirable executive ability, attention to details and a precise knowledge of the listener's needs, are the main prerogatives of the duo-venture, which for the second time concretely demonstrates a remarkable efficiency in playing such galvanizing music, distinguished by a resolute and communicative temperament. The album "Graygarden" honors the reputation of Miseria Ultima, raising them to a further prestigious level and confirming them among the most promising realities of the contemporary electro scene. Bombastic rhythms, subjugating vocals, exciting melodies, maximum danceability: this is what we mean by 'non plus ultra sound'.

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On The Floor - "Breaking Away" - by Maxymox 2020

immage Every exhaustive biographical and record detail concerning the German band On The Floor can be found in the report on the album "Made Of Scars" ( 2017 / Alice In ... / Dark Dimensions ) published in the reviews section of the year 2017 of Vox Empirea. The strong tenacity with which the band has always systematically sought an incisive and effective sound has finally proved triumphant. The line-up, composed by Helge Jungmann ( vox ) , Dennis Lindner ( bass ) , Henning Thurow ( guitar ) and André Lindner ( guitar / keyboards / drums programming ) was able to create the definitive masterpiece of the entire repertoire generated up to to date by On The Floor, constantly evolving over two decades of experimentations. "Breaking Away" is the release that more than any other part manages to fully manifest the authentic essence of the inspiration inherent in the four protagonists, exponentially valorizing the individual executive capacity of all members of the project, synergizing them into a single, functional sonic organism. The new album impeccably intertwines all the peculiarities of ensemble's music, formulated through nostalgic 80's reminiscences - perceptible above all in the 'Mission-oriented' gothic-rock elements that mostly dominate the sounds of On The Floor - in perfect combination with the post-punk recalls, with the introspective obscurity of the darkwave and with the technological processes of the electro / synthpop. The structures of the eleven songs included in the tracklist mainly exalt the massive electricity of the guitarism and the decadence of a chant melodically uttered through baritone inflections, to which are also added symmetrical bass lines, midtempo / downtempo drum-programming and rational sequenced hatches. The highly articulated concept-album musically illustrates the connection that exists in the relationships of each type, among people, among people and things, or among people and different situations, highlighting the inevitable dependencies and the conflicts generated by the same relationships; the band deals this complex topic in the lyrics, both ironically and thoughtfully, exposing with realism its most hidden aspects connected to love, to the purification of the spirit and to the changeability of circumstances. The title "Breaking Away" therefore symbolizes not only the interruption of destructive bonds, the cathartic removal of constraints and relational subordinations, but also the possibility of being internally 'broken' by addictions, considering the consequences caused by free, intentional acceptance of the logical binomial: 'relationship = dependence', or of the more self-deleterious theorem: 'conscious relationship + dependence = damage'. The new full-length is further embellished by the participation of two important guest singers from the European gothic-rock / darkwave / post-punk scene, present in three different episodes of the title track: they are the German Tom Lücke ( Girls Under Glass ) and the Swedish Johan Sjöblom ( Sjöblom / Fake Moss / The Exploding Boy ) . A fundamental record. You will never separate from it.

The best tracks of "Breaking Away", chosen for you by Vox Empirea::



- "Backseat" : intense, melancholic vocals intone strophes full of meaning, while the midtempo drum-programming, the sequencer and the bass spread regular pulsations, sublimate into a a nostalgic gothic-rock / darkwave / electro melodism illuminated by alienating synth flows, by the circular turns of bass, by the romantic concordances of the first guitar and, in the background, by the flaming trails of the second one. A very atmospherically sentimental, obscure song. You'll love it before the last note ends.

- "The Way It Hurts" : the vocal ornaments of Johan Sjöblom duet with those of Helge Jungmann, raising a fascinatingly afflicted chant that touches the soul, rhythmed by the midtempo cadences of the drum-programming, together with euphonic keyboard, harmonious riffs of the guitars, sequenced punctuations and segments of bass. Torment meets ecstasy in this passionately gothic-rock / darkwave / synthpop track to which abandon oneself with total emotional involvement.

- "Walking Through Walls" : the chant of the singer extends fluidly melancholic, reflective, adorned by the powerful, reverberated counterpoints of the guest vocalist Tom Lücke. The drum-programming and the sequencer scan a cold midtempo percussiveness, rhythmically synchronized with the intermittences of the bass and made suggestive by the minimalism of the synth, all in a splendid gothic-rock / darkwave / electro song fortified by the energy of the guitars.

- "Better Man" : metronomic midtempo drum-machine, sequencer and bass, propagate a danceable dynamism, as well as the singing, absorbed and suffering, investigates the conscience, harmonizing with the iridescent tension of the guitars and with the opaque fluidity of keyboard. A seductive gothic-rock / electro / darkwave track, suitable for moments of existential self-analysis.

Conclusions:


Ardor, instrumental refinement and wide depth of thought, form the basis of "Breaking Away", an emblematic album, to be considered the grandiose celebration of an eloquent, inspired band that demonstrate excellent intuitions and a particular knowledge of human psychology, able to probe, even ironically and by an expressive musical language, the complexity of the internal dramas, the afflictions and the shady side that obscures the mind. The most representative and unmissable On The Floor's release since the dawn of their debut. Be certain of it.

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Two Moons - "Over" - by Maxymox 2020

immage Paradigmatic Italian band founded in 2009, Two Moons represent with honor the today's generation of disciples devoted to the glories of the early 80's darkwave. The line-up, consisting of Emilio Mucciga ( vox ) - aka the psychedelic wave / noise / electronics musician Emil Moonstone - , Joseph Rips Asanda ( bass / guitars / synth ) - member of the Italian coldwave / darkwave / electro / post-punk ensemble called European Ghost - , Angelo Argento ( drums ) , and Iacopo Palax ( guitars ) - this latter substituted the ex guitarist Vincenzo Brucculeri, aka Nils - , makes a significant advance in its artistic career, proposing a sound with an increasingly formidable charm, a solid compositional consistency and strong expressiveness. Two Moons were born almost extemporaneously from an instrumental project belonging to the bassist Joseph Rips and in particular on the occasion of a live performance which took place by bringing together the four protagonists for the first time, during which it originated the concrete intention to create a common design that exalted the interchange of individual musical experiences, encouraged by the enthusiasm resulting from the positive evolution of the concert. The success of the band, favorably described by critics as the reference point of the 'new new wave', is confirmed by the growing number of fans and its rapid distinction into the alternative panaorama, in which for eleven years it has shown resourcefulness, valuable inventiveness and desire to emerge. The ascent of Two Moons has beem enhanced thanks to many concerts, organized today as the past times in Italy and abroad, but also through a grandiose series of video tracks as a systematic support for the published releases, among which it stands ot that of the song "Rain", directed by Stephan Zlotescu, a master of special effects. Stylistically polyform, the band's darkwaving sound integrates, in different eras and in different measures, krautrock / electronic / synthpunk / post-punk / new wave / shoegaze elements, emphasizing the double, articulated theorem that has always characterized the music of Two Moons, or the fusion between darkness, deep inner observation and melancholy, combined with an actualized, polarizing and luminous image of electronic. This conceptual dichotomy concerning music also specularly reflects the meaning hidden in the name chosen for the band: in fact it ideally represents the double, enigmatic side of the moon, both the dark, the arcane, inscrutable one and the other one, refulgent, poetic, clearly visible to the look. By the combination of these criteria result tangible, explanatory modulations, diametrically opposed to the abstract dimension, which give a real physicality to each single note and a particular emphasis on the intensity of the texts. The official Two Moons discography mentions the following releases: the Extended Play "The First Moon" ( 2009 / self release ) , the bootleg album "Live In Svizzera" ( 2012 / self release ) , the debut album "Colors" ( 2012 / Swiss Dark Nights ) , followed by the full-lenghts "Elements"( 2014 / Irma Records ) , "Cognitive Dissonance" ( 2017 / Atmosphere Records ) and finally by the new album "Over" ( 2020 / Icy Cold Records ) now reviewed by Vox Empirea. The eight songs of the tracklist spread an uninterrupted cycle of atmospheres full of fascinating, nostalgic shadowiness, intersecting at the same time romantically decadent trajectories, sometimes estranging, fortified by a powerful evocativeness, capable of originating a sonic illustration so immersive as to totally enmesh the imagination of the listener, who will be enchanted by the suggestive flows of the synthesizer, by a predominantly midtempo percussion, by the 'waver' electricity of the guitars, by the pulsing bass lines and by a penetrating, communicative vocalism, as if it were this same part of his consciousness. The music of Two Moons turns into a pure emission of sounds and into a direct dialogue with spirit. Loving this album will prove to be one of the most natural instincts you've ever perceived.

The best tracks of "Over", chosen for you by Vox Empirea:



_ "Love Is" : the geometric midtempo cadences of the drumming rhythm a melodic instrumental climax, performed through reverberated guitar riffs, evanescent synth chords, sequenced hatching and circular bass scales, in a new wave / post-punk / electro song with graceful, elegant livery, sublimated by the melancholic obscure chant of Emil.

- "Never More" : a sound-system as dense, nostalgic as autumnal fog, consumed by torment and by inner desolation, built through darkwave / post-punk harmonies of great sensorial effect. Shoegazing guitarism elevates euphonic trails overflowing with spleen, joining the heavenly counterpoints of the additional section of strings, the vaporous expansions of the keyboard and the intermittences of the bass, while the drums punctuate a midtempo percussiveness and the voice sings strophes charged of depressed feeling. The magnetism of this track will fatally capture every dreamer that will approach it.

- "Look At Me" : Rhythmically slow, hypnotic, the song is formulated following a scheme definable as 'psychedelic darkwave' / post-punk, in which the singer's chant propagates disillusioned lyrics, vaguely apocalyptic and nihilistic, initially decorated by the delicate arpeggios of the guitar that later become lysergic fluorescences, on which hover turbid synth pads, noble piano punctuations and a massif shoegaze friction. Floods of emotions will pervade your mind for a long, long time.

Conclusions:


The musics of Two Moons can be circumscribed in a precise, aestheticized sound balance, in which triumph the restless interiority of the darkwaving sound, the modernism of the electronic conjunctions and the contemplative post-industrial poetry inherent in the lyricst. "Over" is a psychonautical journey in search of the unknown, the implicit exhortation to turn one's gaze towards a spatially wider and more imaginative perspective, in which to find fragments of lost reminiscences, or to fly over the unexplored recesses of one's subconscious through the not ordinary vision of the inner eye, crossing the boundaries of the unfathomable. This album will leave an indelible mark on your memory.

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We The North - "2020" - by Maxymox 2020

immage We The North is the second project of the Swedish Johan Hansson, musically and conceptually different from his first artistic identity called Unitary, whose biography and discography are described exhaustively in the detailed report on the Extended Play "Woke" ( 2018 / Misty Recordings ) available in the 2018 reviews section of Vox Empirea. Founded in 2016, the solo-act We The North is a sort of sonic extension of the protagonist's tormented inwardness, whose musics are not only his interpretative and personalized response to the meanings of 'synthpop', but also a form of communication that effectively incorporates feelings of estrangement, anger, negativism, isolationism, capable of depicting in the imagination the frozen immensity of the wintry Scandinavian landscapes, the desolation that hovers heavily during the dark season and the alienating melancholy that surrounds them especially during the very long, cold nights. While the Unitary's sound - specifiable as 'Emotional Body Music' - is a combination of fast EBM / futurepop / dark-synthpop elements, that played by We The North - technically indicated by the term 'Nordic Noir' - is a set of electronically engaging, dynamically obscure sonances, performed through synthpopish formulations in which they synergize balanced old-style / new style orientations: the result is a whole of harmonies perfect to be listened to, danced and remembered. The discography of this platform initially lists the EP "Endemic" ( 2016 / Space Race Records ) , anticipator of the debut album "Dayblind" ( 2016 / Space Race Records ) , followed by the full-length "Unhealing" ( 2017 / Space Race Records ) , by the EP "Split" ( 2018 / Space Race Records ) - planned in collaboration with the Italian synthpop / new wave / darkwave / EBM solo-act TourdeForce - thus continuing with the digital singles "Is & Eld" ( 2019 / self-released ) ," Kall "( 2019 / self-released ) and" Vi "( 2019 / self-released ) , all three of them published associating the name We The North with the effigy 'Feat. Vita Arkivet'- aka an additional pseudonym used by Johan to distinguish these three Swedish publications - returning today on the scene with the digital anthology "2020" ( 2020 / self-released ) now reviewed by Vox Empirea, containing fourteen of the most representative songs taken from his entire repertoire - including the version of "Endemic" remixed by the American electro / goth / new wave / post-punk / synthpop solo-project called Mr. Kitty - remastered and structurally restyled at Earthbound Mastering studio. This document embodies all the musical and the sensorial essence of We The North, manifested through overall midtempo rhythms of drum-programming, systematic sequenced hatches, atmospheric keyboards and vocals of extraordinary, icy beauty, sung by euphonic, deep, introverted tones, in which we can actively perceive emotions wrapped with a certain indirect darkness. Intimism, danceability, functional technology and an intense melodism, are the peculiar traits that Johan Hansson has configured in his identitary creature We The North, through which he propagates catchy, intelligent sounds, orchestrated with advanced compositional art. If you are true fans of the evolved electro / synthpop and you want to listen to something even more superlative, in "2020" you will find many reasons to love viscerally this amazing album, from which you'll never want to separate yourself. A white, silent immensity. The chill wind is a whispering breath that mesmerizes. The pale reflection of Scandinavian light. The North.

The best tracks of "2020", chosen for you by Vox Empirea:



- "Vi" : in its introductory phase, the polychromatic punctuations of sequencing, the polarizing melody of keyboards and the precise midtempo cadences of drum-machine, summarize the subsequent electro / synthpop schemes of this masterpiece, nobly adorned by a fascinating chant pronounced in Swedish, through Johan transmits vivid meanings, nostalgic passion and something else that cannot be described in simple words, but so authoritative as to induce us to repeatedly press the 'rew' button on our device and listen to the song over and over again. What is meant by an unforgettable sound experience.

- "Endemic" : contemplative, intimate, this track constitutes one of the rare downtempo electro / synthpop chapters of the full We The North's discography. The drum-programming elaborates slow, asymmetrical pulsations embellished by sequenced luninescences, while the dense coverages of keyboards spread harmonious chords that blend with the magic of the vocals. A song to listen to embraced in a room, at the twilight of sunset, singing it softly with closed eyes.

- "Kall": the geometric midtempo percussiveness of the drum-programming and the intermittences of the sequencer configure a dynamic track that makes this song ultra-danceable, enriched by the melodic counterpoints of keyboards and by the penetrating melancholy of the vocals sung in Swedish. Fatally seduced by the cold.

- "Understand Me" : 'a triumph of sublime electro / synthpop consonances'. There are no more suitable phrases to define so much sonic charm. This song, rhythmically rationalized by a danceable midtempo drumming, sectioned by the logical replications of the sequencer, filled with gracefulness by the keyboards and made precious by the melancholic chant of Johan splendidly enhanced in the refrain, abducts us without compromise. The flow of attractive energy that you will immediately feel for this track is stronger than Earth's magnetism.

Conclusions:


Clear, elegantly suggestive, the sound design of We The North is a bitter gaze projected from the window of the soul towards infinite spaces. In it converge restlessness, depressed feelings, loneliness, inner conflict, whose vibrations are transmuted into electronic expressions of immeasurable preciousness. This album-compilation collects a fine selection of songs extrapolated from previous releases, beautifully perfected, reworked and ready to relaunch this formidable solo-venture worthy of all the prominence possible. "2020" is the electro / synthpop at its maximum resolution and at its maximum evocative power. Now you know what to listen to for the next hundred years.

Reviews 2019 Eng
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