I’ve got an itch down my Spine, and the only way to cure it is more new wave. Denmark brings us Spines, Australia brings us Collector, both have an ambition to be ahead of schedule in terms of release – bringing the best and blackest wave. Collector’s “The Vanity Of Labour” is about as far into the abyss you can stare before getting swallowed up whole. It’s hell on earth and you’re here to listen to it.
Chains rattling, synthesizers positioned for the perfect ambient start-up, as machines gear in motion and the horror starts forming – as slowly guided through thick clouds, heavy drums that drag with it chains to pull you down with it – into the abyss, into the maelstrom of almost psychedelic techno, as the melody goes off and puts you permanently to sleep. Collector has made the perfect echo chamber – musically.
“Without Regret” is a more loosely based industrial techno song, which is concentrated around roughly the same tempo, with few changes only in melody – bringing out the best of two worlds – dreamfilled darkwave with heavy overtones of charged beats, headstrong rhythm, stubborn techno at its finest – as layers upon layers of heavy atmospheres come crashing down upon you.
After three minutes in, it evolves into an experimental carousel that tunes the frequencies around itself as it pleases – the song has got its own mind, for god’s sake. Really interesting, “Life After Olympic Gold” is as suggestive as it is monstrous, but it is hard to draw a final conclusion having heard the only two songs available.
Spines – exciting post-punk with that punk edge you never get. A transformation from post-post-punk into a weird combination of the most experimental rock’n’roll you’ve probably heard for some time, at least. Concentrated into bursts of two-minute songs, seven of them, only two clocking in over three minutes – this is post’punk’n’roll if I’ve ever heard it.
If there ever were anything called “galant noise” – this would be the reference. There’s a lot of melody to be contained within the four walls that is Spines, and my favorite song “Concrete Walls” is perfect to sing along to. Ingenious rhythms transform every man’s living room into a veritable dancehall. The song is too short for my taste, but the rest of the album makes up for it, totally.
I’m hoping to follow this project more closely, as they’ve shocked me with “Lymph Nodes” – it’s a great release, featuring some of the more ambitious wave of Denmark’s hopeful, yet hopeless youth. I don’t know what grows on the other side of the bridge, but there must be something greener on the other side – after all.