Aptly titled “Ursprung” (Origin, in Swedish), Veil Of Light incorporates even more despair and decay into an alluring, complete body of music. Having not heard his music for a while, you can’t even imagine what a leap he’s done with this album itself, as the synthesizers melodies become more complex, the beat of the drum more harsh, the lyrics stay the same – but his vocals are even more maniacal – as heard in the first track “Soma“. From silently passing by, to increasing in speed, and eventually metamorphosing into an intimidating musical piece that reaches its crescendo near the end – complete with the total blackness in the instrumentation, everything’s in a shade of darkness.
“Trust” is the perfect combination of minimal wave, synth and cold wave. Especially the melodies are strong in this song, the rhythm basically stays the same throughout, but eventually changes when the chorus smashes its way in. Here’s where despair can be found, where there’s no return from the coldness that sweeps in over you. Basically, what Veil Of Light have mastered with this track, is the mutual “trust” between minimal synth and cold wave – after having heard this song, one gets convinced that it conveys the general theme of the release – and that it is how cold wave should sound – because the combination of genres does so much more then he probably realizes.
“Lie To Yourself” is a speedy, not that convincing, song that doesn’t really transcend into the same territory as the previous songs – whom are much greater in general atmosphere and theme. One must say that the melodies that come up in the chorus are what makes this song a bit better then it otherwise is. If only the synthesizer-melodies had been developed further, but a positive thing about it is that it serves as a reminder of the old Veil Of Light. The lyrical content in this song is, however, what makes it a bit better as well – and the energy of the vocals, you can feel it surge throughout the later parts of the song.
When “Throwing Stones” comes blaring into the mix, it’s almost as if Veil Of Light has stared too long into the abyss and now it is staring back at him – the synthesizers utilized within this song greatly brings out an atmosphere so intense, so dark that one can almost not fathom how he manages to keep it so sullen, yet concise in structure and in upbeatness. It’s like a finger in the face at the same time as it keeps its distance, in the shade of light that somehow comes forth through the atmosphere, in the most abrasive way possible.
Now, “Awake” is a really bizarre concoction of different thematic influences. It feels like a carnival of despair, the melodies are quite unique when one thinks about it. Somehow it fits well into the soundscape even though it sounds out of place at the same time, but the drums make up for that in intensity. This song is one of the more creative ones in terms of instrumentation, because the instruments used are clashing against the general atmosphere and soundscape that Veil Of Light oftentime use. Clearly, this album is something out of the ordinary, as there’s a whole other, more picturesque version showcased – living out the most wild, imaginative way to create a song.
Wow, no words can really describe “Your Dagger“. A veritable industrialized zone from where the more classical themes of industrial is mixed with minimal synth, cold wave and post-punk. Not to mention how it almost transgresses into power electronics, with distorted vocals and a metaphysical dagger ready to stab at your heart with all its power. The drums can get a bit annoying after having listened to them only for more then a minute, but that’s about the only critique there is to give this song. It’s an otherwise, complete industrial setting – in terms of atmosphere and structure – with an unorthodox way of portraying it, musically.
Here’s where he should’ve left out a track, namely: “Alles“, which is one of the more boring tracks, up until two minutes into it where the melodies transgress the boring drumbeats and singing. It is an unbearable track which only picks up from its melancholic decay, into a maelstrom of more fitting melodies, later into the song itself.
Everything slows down, it becomes more downtempo, a more chilled out atmosphere – longer outdrawn synthesizers, melodies that quickly sweep by, leads that stay and affect the way you listen to the atmosphere as a whole. There’s always something happening, but it is more decorticated. The song is titled “Forever Unlit“, but in terms of the song itself it appears to be, very much, a fire burning and being lit – metaphorically speaking – as the song slowly transcends into total madness.
The beats in “Medusa” are grandiose to say the least. Brutal, uncompromising, and the rhythms are constructed – in the beginning at least – of those drumbeats. Rhythms are paused, the guitar riffs linger so long outside the general atmosphere that is then quickly filled out with synthesizer stabs, then suddenly – it shifts in terms of the riffs – into a completely different story. Everything is held to a high standard and one can simply not grasp how he’s gotten those drums banging – in such a savage manner. As the song fades into nothingness, one can say that this is one of the ultimate cold wave, industrial, post-punk songs of this year – easily.
It’s saddening to see how “With Healing Hands” is nothing in comparison to the other tracks. He falls out of motion here, there are less complex melodies, the rhythms are somewhat good and some of the melodies attune to the depths of one’s heart. Though one must say that this, as well as “Alles”, is one of those songs that should’ve been included somewhere else. Sadly enough.
Otherwise, aufnahme + wiedergabe continue with a solid discography, as this album is – overall – good, if not great in terms of how cold wave can be something greater, bigger, in terms of atmosphere and general theme.