Review: Lebanon Hanover – Gallowdance

2824239920-1Lebanon Hanover have a new release, freshly cut and mixed, ready for us on their table. Catering to our strengths and weaknesses, with the first track “Gallowdance” they blend the best minimalism with the overtly dark hemorrhage of cold wave nostalgia. Firstly covering our hands in mud, as you try to reach into their world with your hand. Melancholia is strong in this world, it’s also a conjuration from the abhorrent use of shady riffs and a continuous baseline that rips through the cold gaze of yesteryear. Whilst dancing in a landscape so barren one could almost point a finger in any direction and still see no structures in the near midst, see no hope in front of the two eyes steadily fixating themselves upon what have been. It’s no more and the usage of the Anglo-Saxon language and the German fluttered whispers, you’re on a multidimensional trip, apt for the misanthrope of modernity. One layer of language, to chalk the empty souls and two layers of both minimalism and suggestiveness – what kind of messages are being projected? You can only tell, with fluency in each language, what is what and which is which. It feels like you’re slowly moving out of each layer, stripped of your own security and unmasked in front of the naysayers. Take one step to the side, hear their vocals sip through the cracks of each hole in the house. Feel them coming closer. Everything seems to be what it isn’t, as Lebanon Hanover is the only ones with the cure in a near proximity, you’ll feel hopelessness indulging you and itself. Dissolving into a unity of both man and despair.

The other side of the coin is “Midnight Creature“, combined with a synthesizers glimmering appearance and a telltale snap of snare-drums against the void. An interesting anecdote is that the song is exactly as long as the first one, clocking in at 03:52. Some symbolic nature and connection might be overestimated, but it adds up to the sound-scape as a whole. Distant riffs tower up in the background, as the cluttered vocals spin across from left to right. Darkness isn’t a description which can stand tall on its two legs, it brings fear along to stir up the otherwise stale picture which mustn’t be destroyed. The ghastly images of death and decay might even be a pinpointed knee-jerk reaction of the emotionalism that is in a continual struggle against the senses of what’s abhorrently wrong. In a way, they conceive the nothing of anti-matter as they carelessly, but at times also carefully, write their name in front of your eyes musically. Their a melodic signature is a strong conviction of how everything can be taken a step further. Which they do, no matter how far astray they might venture, no matter how stagnant and unconnected it is in the end. But what can’t be emotionally satisfying, also cannot provoke a strong reaction. Which they always succeed with, no matter what. So there can only be one guessing and that is; can it go any further? They’ve certainly assessed their position in the leading role, partaking in this miserable concoction, although very good, but naturally a sensation of the negative kind. The associations might not tell everything, but they’re surely way ahead of us all.

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