Eik: Undetected

In advance of their debut album Norwegian electronic band Eik described their sound as a combination of deep house, ambient textures and pop hooks, a description which did not exactly fire up great enthusiasm as one who is generally adverse to varied forms of dance music. Undetected soon proved to be much more than one imagined going in to it and though it will not retain a perpetual place in the ear here there is no escaping the album was thoroughly enjoyable and for fans of all forms of electronic music it is sure to be a deeply pleasurable treat.

Consisting of Per Kåre Limmesand (keyboards and effects) and Kristoffer Carlsen (drums), Eik have created a diverse and consistently elegant album whilst still making it a warm and welcoming infection for all melodic hearts. With a classical breath to much of Undetected alongside the eager pop veins and ambient heart, the release is a perpetually surprising and consistently fluttering warm kiss upon the ear. Using guest vocalists on many of the tracks, the duo create striking soundscapes and mesmeric weaves which sweep one up easily in to their expressive atmospheres.

All That You Said begins the pleasure with a female voice gently caressing the ear over electronic pulses and a brewing melodic synth mist. An intrusive hypnotic pulse throbs powerfully throughout the song whilst minimal yet expressive sounds and textures sway in and out and though it is a gentle start to the album, with the song soaring skies with impressive vocal harmonies and squeezing tight with that unavoidable pulse it is impossible not to be captivated.

The following duo of tracks Love Storm and Seems To Be Real bring an eighties electro infection which is delicious. The first reminds of early Human League with a blend of the sophistication of Depeche Mode and the pop of Blancmange. The male vocals are outstanding adding to the nostalgic feel and the track is not long in becoming a firm favourite even though the latter sky bound melodies take the song into areas reminding of Vangelis which is not as agreeable. The second of the two songs is a sea of sirenesque female vocals and addictive melodic pop caresses. It immediately excites with a Visage seeded pulsating start before the female vocals add their great energy and pop cream to the electronic dessert beneath. Her vocals actually remind of the pop stylings of Aqua but do not panic it all works perfectly and is a wonderful track.

The instrumental Background For Documentaries and the following techno/dance fuelled 74 did miss the mark quite easily but that is down to personal taste though the fact that the instrumental did not offer an experience and journey as impactful and imaginative as on other songs was disappointing. It failed to ignite imagery or emotions and was generally just underwhelming.

Things are soon on track again though with a pair of impressive songs. Thinking Of is a delightful piece of music with vocals dazzling the ear over minimal beats and restrained but glittering synth invention. The song is simple but fully effective and again mesmeric.  The best track on the album Utopia follows straight after and it is a real gem. With lively ripples of Middle Eastern Music teasing and weaving amongst again an eighties recalling electronic imagination the song is magnificent and destined to be the most revisited. Again the likes of Blancmange come to mind as well as Eik contemporaries Austerlitz, the combination especially with the rhythmic and voice only twist within the song glorious.

    Undetected is a great and very pleasing surprise for these ears and though maybe not an album we will be immersing within as often as others there are certainly tracks which demand and will receive a persistent invitation to entertain.  With the album Eik also suggest there are bigger and more imaginative things to come and we for one cannot wait. If electronic pop with a real essence and heart appeals Eik is a must, so go find and enjoy.

Ringmaster 10/06/2012

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MiXE1: Module 02

When the debut EP from UK electro rock band MiXE1 was unveiled in 2010 there was more than mere interest set in motion for any future releases. Module 01 was a haunting and vibrant collection of tracks offering much promise ahead whilst at the time lighting up thoughts and emotions with its warm enveloping sounds. A free single last year in A Spark In The Air only strengthened the eagerness for more with word of a follow up EP set for 2012 the trigger for even more enthused and impatient waiting. Module 02 does not disappoint, a four song release it brings an evolution in sound and invention with all the essences and imagination that first captivated still on board.

     MiXE1 is the solo project of Hatfield based songwriter Mike Evans. Having played in an alternative metal band he reached a point where he wanted to express himself in a different way and turned to electronic music, a genre that had already engaged his tastes. The project which became MiXE1 allowed him to find a more positive energy and area to express himself within, bringing a contrast to the darker sounds and lyrics which were borne from his previous band. It was a move as by the evidence of his releases which has openly inspired his creativity, the new release being no exception but a further step forward in his vision, songwriting and its realisation.

The EP immediately lights up the senses with opener This Is Not Goodbye, synths and dazzling swarms of sound wrapping around the ear with a tender embrace. With an emerging throbbing pulse the song spreads deeper into the head as the vocals of Evans, smooth and mesmeric soak the music in dazzling harmonies and care. Swaying within its warmth one is then thrust into a frenzy of aggressive guitars, vocals, and blistering intensity.  It creates the perfect union of extremes and continually unpredictable glories, offering a NIN/ Celldweller like feel with bursts of Sonic Syndicate. That is simplifying it as it has a uniqueness and freshness that is MiXE1 alone. It is the best track on Module 2, a sure and persistent companion to share time with though the other three songs that stir within the EP are just as compulsive.

Your Heart Is The Beat starts with the unlocking of the song, its grace and flow emerging from shadows into the limelight of the ear with a heated grace and hypnotic energy. Emotive and seemingly personal through passion and heart the song is a wave of summer warmth splintered with flashes of harshness which ignites even deeper veined satisfaction. Electro pop with a Visage like breath the track is a wonderful excuse to visit inner thoughts and emotions with an understanding soundtrack.

Do You Know continues the feeling with more eighties electro flavouring though it reminds more of John Foxx led Ultravox with its underlying rock edge. Another song with euphoric depth to it the irresistible pleasure lifts the lowest spirit and any darkly shadowed emotion with caring imagination and evocative thought coated in infectious harmonies and soaring melodies.

The release is completed by the impassioned Never Been Gone, a far reaching atmospheric mist of emotion spotted with falling sonic glittering and the tenderness of electronic enveloping. Once more Evans brings textures to the music which makes each dip into its sea of sounds fresh and deeply rewarding. The song invites one to lie back and let it take them through their own journey of memories, thoughts, and feelings, the wonderful sounds an understanding companion.

Released June 16th on Static Distortion Records, Module 02 is a stunning result of an artist who has found a full well of imagination and craft within music he is relatively speaking still fresh to and it harbours even greater promise for a planned debut album ahead. Just to be picky one would say more guitar and more of the metallic abrasion on that please, but if it is as good as this EP, we will take anything MiXE1 brings with relish.

RingMaster 196/05/2012

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Tom Kills: Semi

The recent release of the single A Million Pieces from Tom Kills openly declared he was an artist with an inspired feel for bringing emotion, shadows and superbly crafted electronic sounds into vibrant and impactful soundscapes for the senses and thoughts to revel in. The song also bred an enthused anticipation for his debut EP Semi, something the six track release more than fulfils. The release is a real feast for the ear and beyond, its touch and caress upon the heart wholly infectious

From Cumbernauld, North Lanarkshire singer, songwriter, musician and producer Kills has created a collection of songs with a heart seeded in the eighties and passion firmly set in today. The release leaves one glowing and grinning from an accomplished journey through a diverse electro pop kaleidoscope of sound. Semi dances with the heart and teases the senses whilst all the time keeping the mind active with emotive lyrics and compulsive ambient textures behind the mesmeric melodic flow. It is also hell of a lot of fun recognising bands and sounds from the past though the songs themselves have an independent life borne solely from Kills.

Silly Little Self opens up the EP with a reflective purge of emotion, the song a stirring expressive recognition for all in some degree. The music slowly envelopes the ear offering a heightened richness and touch whilst Kills surfs its melancholic wave with a vocal that encapsulates the tones of Bowie, Numan and Matt Johnson. Lined with inner shadows the song wraps itself around the senses without inviting pity to unveil its heart.  Though instantly mesmeric the track is a brooding darkened pleasure which leaves the following Dvorian Grey to bring a lightened swell to the proceedings.

The track brings a mix of sound that swarms warmly around the ear, its pulse offering the haunting elements of a Japan, the darker corners of Strangers, and the dazzling pop of a Visage. Dvorian Grey never breaks out in to an urgent glittering song but melds its enthused beacons of melodies into a darkened tome, the result a pulsating spread upon the ear.

Next Kills takes us down the darkened footpath of Catastrophe, its Joy Division/Depeche Mode corridors dimly lit with the warm melodic torch of an OMD. The overall effect is a wonderfully crafted eager play with the ear and a nostalgic feel of The The. Again one should note that despite all the references mentioned to try and portray the impressive sounds within Semi, the songs are spiced by these flavours but the recipe is all Tom Kills.

The excellent Million Pieces still holds court with the same majesty as when first we reviewed it, its beauty and tenderly hypnotic sway a dawning feast for all the senses to bathe within. Previously the likes of Depeche Mode and Strangers were stated as ingredients the song reminded of and though they still remain the more the song serenades the ear the likes of early Human League come to the fore, the League before misguided hairstyles and candy hooked songs came along. Graceful and bewitching the song is a near perfect electro pop pleasure, its power fuelled by the reserved energy and the caring nature of music and vocals.

Though still the favourite song so far from Kills and probably the best on the EP, Million Pieces is seriously challenged by Sex Robots. With a symphonic intro and computerised word the song steels up the EP with an industrial muscle and delicious electro waltz for the emotions. Part Marilyn Manson part Gary Numan with an excitable splash of Thomas Dolby the song leaps to its feet taking the listeners hand in a cyber dance and lustful affair. If you are not singing along and moving your limbs by the end of this irresistible piece of joy check for a pulse.

Semi is a true pleasure and treat, every aspect of the EP is a joy and impressively crafted. Light and dark fuel the release and one suspects Tom Kills too by the emotive edge unleashed on Semi and long may they rage with music this satisfying.

www.tomkills.com

RingMaster 22/03/2012

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