Industrial gloom from international duo that see the beauty in the final chaos. Gary Numan looks in.
If there’s method to madness, J. G. Ballard made a nice point of it in “The Drowned World” which was an inspiration for this band who moved from Australia to NYC to embrace its urban buzz. What they landed at is a post-rock gurgle befitting the submerged theme of the source text, where dance grooves dally with heavy riffs. With such clang enveloping one’s perception from the title track on, the intimacy of twin vocals may be hard to grasp until the pulsing “Losing Myself In You” gives a new meaning to the mix and Gary Numan’s voice adds gravitas to it.
So while the solemn chorale and chant of “Against The Gates” allow a peek into the duo’s vulnerable layer as guitarist Matt and keyboard player Rizz exchange verses, in many a spot rhythmic oblivion gets the better of them, and the rave goes round in circles. But it’s the very core of the album’s alienation that’s gone with the beckoning swell of “Stranger” and “Councillor” whose twangy pop agenda negates its darkness. Building on DEPECHE MODE and SWANS foundation – the record’s produced by Kevin McMahon and there’s a palpable touch of Thor Harris’ percussion on it – the duo sway mightily on “It’s You” yet the strum of “Crying” is barely adorned with moody effects which grow in scope but can’t muddle the emotion.
What can is a sense of boredom behind some of the pieces, “The Season” seeming to address the issue and create an art perspective for it. That’s quite a method, and the madness is rather infectious here. A solid, if murky, start.