credit Mark Wallace
As we keenly sink into the creative depths of the new album from Inkräktare once more for the actual writing of this review, it is hard to remember any encounter in recent times as absorbing yet unsettling and as invigorating but disturbingly haunting as We Are Not Really Here. It brings a collection of tracks which voraciously embrace the listener, engulfing their senses and imagination in a proposition as sonically claustrophobic as it is expansive in sound and intimation.
We Are Not Really Here comes ten years after the first Inkräktare full-length and sees producer and multi-instrumentalist Dean Garcia (Curve, SPC ECO, S T F U, Blurred City Lights) creatively and in sound poetically igniting the dark and invasive soundscapes created by his collaborative partner, Mark Wallbridge (a.k.a. Vasko The Pig). It is a riveting union of craft and imagination which makes their new album one compelling trespass which is made only more enthralling by the vocal presence of Rose Berlin (SPC ECO) and Preston Maddox (Bloody Knives and S T F U).
Album opener Speak Out Loud called to the imagination from its first crystalline breath, keys a radiant lure within the darker electronic landscape soon unfolding within ears as the hypnotic tones of Berlin serenade quickly enveloped senses. Even in its enthralling beauty there is a dark intensity brewing within the song; a gathering fume of shadows which just as eagerly captivated as the kaleidoscope of light above them.
The following Say Goodbye To You comes from a more shadowy depth but too brings a magnetic elegance and lure to temper the volatile and agitated heart of the song. With Maddox’s voice another rich lure in the rapaciously mercurial insistence of the song, it invites and devours in equal intensity and craft before Terrified explores similarly dark corners and textures within its drifting sonic winds; nightmare and alluring intimation embracing each other’s contrasting hues. Even with Berlin’s tones a safe caress if succubus like in the haunting embrace, the track disturbs as it seduces while The Night Growls prowls the same mental landscape with predatory intent with Wallbridge’s tones in turn a dark protagonist in suffocating aural and emotive fog. Both tracks simply bewitched the senses and festered in the imagination, the Nine Inch Nails toned latter especially irresistible as it consumed with voracious, tenebrous temptation.
The nagging enterprise and breath of Free The World equally proved a spellbinding exploration, Berlin again a light for the moth of greedy curiosity for the song’s fascination and mercurial landscape while We Are Broken and We Are Not Really Here with their respective electro pop breath and evocative dub nurtured escapade only fuelled captivation even if the first did not quite hit the addictive hazard warning heights of its successor.
Who Cares offers another melodic sunspot in a richly atmospheric embrace while Saphirr Bomb after is like a sonic house of mirrors, each sheet of melodic crystal shattered or tainted by the invasive shadows of darkness as the spellbinding track gripped ears and psyche. Echoing the album as a whole, both songs brought warm light and invasive disturbance to ears and thoughts, a striking enterprise and suggestion just as fertile within the toxically crawling, senses chaffing, emotion disturbing Husk.
Closing with the thought questioning Could There Be?, a sand storm of melodic grains and sonic resonance, We Are Not Really Here is a release which reveals and gives more by the listen. It is an encounter which takes the listener out of step with reality yet throws a provocative light upon all the world’s emotional darkness and physical flaws whilst providing unbridled temptation.
We Are Not Really Here is out now via ELaB Recordings; available @ https://inkraktare.bandcamp.com/
https://www.facebook.com/Inkraktare https://twitter.com/VaskoThePig
Pete RingMaster 04/01/2020
Copyright RingMasterReview: MyFreeCopyright
beauty hued dual vocal hug of Foley and Francis, their harmonies and soothing deliveries an exceptional temptation into the heart of the song and release. With great ambling rhythms skirting their every syllable, the song expands its melodic ambient delivering arms, expelling a flame of sonic imagination and breath-taking invention. Through its eventful soundscape the guitars and vocals lead thoughts through evolving incitement whilst the brass stroking of the ear only enhances the depth and potent colour of the bewitchment. It is simply a spellbinding experience.