It gets colder, even colder the closer we get to December. But remember, this is the November edition. Now here’s a complete EP signed Markus Midnight, a gothic-influenced industrial and synth-pop adventure through emotions, cold wave splendour and lurking beats with melodies that swiftly have the upperhand, as in “Addiction“, where the vocals are secondary to the beats themselves.
The song slowly develops into a mish-mash of every genre aforementioned, what separates it from every other artist is the darkly cloud laid upon the music itself, where the atmosphere is what becomes the most important thing, to notice the nuances in the changes of the music itself, as you have to pick and choose between the different influences – which one you like the most – but it is a strong first song anyhow.
Next up is “Blutgeld“, a more beat-oriented endeavour which continue in the same manner, but there’s a certain rhythmic sense to the song and especially the first introductory synthesizer and beats are satisfying. The vocals could’ve been stripped from the soundscape itself as it adds nothing to the whole atmosphere of the song, except when you hear the chorus – then everything becomes clearer – it fits better there.
This is certainly what sets the theme of the EP itself – because it IS the theme. It’s good that you can create music that go into different directions but still remain coherent to the aesthetics of the EP itself and don’t stray too far away from the main concept itself. There are some things that would be needing some polishing, but as far as I can tell, it is a solid industrial synth-pop piece with cold wave undertones.
I don’t really know what to say about “So Beautiful” – it should’ve been stripped from the EP completely – because I don’t understand the point of it. There’s nothing beautiful about it, it’s just out of place. In comes “Misery and Despair“, which is more adherent to the industrial and cold wave influences that Markus Midnight is experimenting with.
There’s a certain repetetiveness about the atmosphere which bugs me a little bit, but hey, you can’t have everything. Otherwise, if the soundscape would’ve developed even the slightest, that would’ve been great. However, there’s a certain brutish nature about the song that keeps one listening to it. The vocals themselves don’t do anything at all, it is just a layer upon another layer of industrial and cold wave music.
Now things get really interesting, with “Burning“, a track that is more minimal synth-oriented and bring forth a nicely laden melody which sticks in your head. The vocals here are not out of place either, but certainly more ambitious lyrically and together with the melodies that are laid upon one another, the song slowly progresses and builds up to something monumental. It lingers for a bit and that’s perfectly fine, because the melodies are constructed in such a manner that they do not take out each other – they complement one another.
It’s interesting how he manages to swing this song in just like that, from out of nowhere after quite a disappointment. Enjoyable, to say the least. After that song, along comes “Every Sin is the Same” which is the most gothic-oriented song on the EP itself. Except the awkward samplings, the song itself is not far removed from being a good, enjoyable post-punk and synth-pop goth song. If they had been stripped and removed, the song would’ve had a whole other outlook, in terms of the music.
But the chorus makes up for that mistake. It’s a simple but straightforward build-up into a maelstrom of emotional content, as the drum-machine is complemented with beautifully laden synthesizers and underlying riffs that create the best of the three worlds it is influenced by.
“Deeper and Deeper” is a great minimal synth song. Overall, it slowly builds up from scratch and introduces more instruments the further in it gets. As drawn from more ambitious melodies that clash with the vocals time and time again. The song itself is mysterious from top to bottom, but interesting in terms of that it’s like this it should be. Not that you should strip away any of the other influences, but the song is more coherent then many of the others.
“Krankheit” is that perfect atmospheric synthesizer outro. I don’t understand why these melodies need to come last, they’re great and should’ve been included more into the soundscape of the other songs. They have more depths and the melodies are really pristine when it comes to it. Too bad. There’s a simplicity about the whole atmosphere that goes further then many of the songs on the release alone. But I must say that it was quite an enjoyable release to listen to, but it could’ve been better. Perfect ending, though.
Listen to the EP down below and buy it from Bandcamp digitally.