Twenty-Twenty is Molly Nilsson’s 8th album; the latest opus of an artist in a constant state of development and strength. Twenty-Twenty is about emerging from the husk of your old self, about binning the chrysalis and daring to stand up both to power, and also to your own limits. In 2018, we see the climate changing, democracy crumbling, inequality and injustice erupting. 2020 examines the near future, seeking out clarity, reflection, renewal and opportunity. It contains anthems so tall as to induce vertigo, leaving the taste of Euro Dance in your mouth, albeit without a four on the floor beat. Here, the pop auteur is haunted by the late Prince, channelling Courtney Love and Lou Reed, anger and love.
Recorded as ever in her own Lighthouse Studios and co-released with her imprint Dark Skies Association, the record is consistent in strategy and approach to past releases, yet on 2020 Nilsson pushes the limits of what can be said in the scope of a pop song even further. Despite working with used keyboard sounds that evoke memories of a distorted past, the sound is distinctly contemporary. The record drifts between playful punk methods and hi-fi ideas, strikingly clear through the fuzz of a surrounding world painted with reverb.
Rather than gracefully dissecting, 2020 rips apart personal neuroses and insecurities, looking for the roots of issues and the equation that, when solved, will produce the future. “I don’t care if the world is through, every night is new,” 2020 erupts with fist-in-the-air empowerment, a realization that if we’re all alone down here, we can still make it. Every Night Is New is a personal and societal manifesto, a slogan comprising the different layers that make this record Molly Nilsson’s most personal, evocative and emotionally packed in years. First single Serious Flowers is a naked confessional trance hit stripped of its beat. Centred around broken trust and friendship, Nilsson sings over suspenseful synth strings with a vocal delivery so inexact and honest, its vulnerability seems almost unaware of itself. Although very much in the vein of Nilsson’s production style on her recent albums, Days of Dust, accomplishes escape and breaks free from the past. There’s a carpe diem immediacy to this fast-paced Rock Song that belies Nilsson’s near-iconic self-contained delivery: “Like I had just been saved from a burning building of desire, I got back up and I ran right into the fire.” It’s so immediate, and speaks so perfectly about the nature of desire, that you wonder how you’d never thought about it like that before.
LP / Digital Album
DKA is proud to announce the debut cassette from Passing (AKA Christopher Myrick.) Passing hails from Los Angeles and has been active on the scene for the last couple of years. Myrick was initially a founding member of Bestial Mouths but left the group and started Passing as means of exploring a more minimal sound. After a brief stint as a duo, Myrick decided to make Passing a solo project. For his debut self-titled full length on DKA Myrick has submitted eleven tracks of pulsing EBM that manages to sound like the future-past of EBM and Industrial music.
One could imagine this as the lost early demo recording of Skinny Puppy or Psyche but from a dystopian future twenty years from now. That’s what makes this recording so interesting: it conjures up DIY post-punk cassette culture harkening to lost tape classics of cold-wave like Trop Tard. At the same time, there is a definite hint of the chic, futuristic EBM sound of Phase Fatale or Silent Servant. However, it is Myrick’s vocals that really make this release standout from other contemporary EBM offerings. Passing has all the snarl and grit of Skinny Puppy on some songs yet can also drift into a more classic goth register. In some ways the vocals are reminiscent of Roz Williams of Christian Death on “Only Theatre of Pain,” showing a deeper, more emotionally vulnerable quality while other times sounding more like the staccato vocals of Cabaret Voltaire. DKA is proud to work with Passing and include him in our family. Passing first appeared on the DKA roster with “Sacrifice” on the Strategies Against the Body Vol. II and then a more recent appearance on DKA
Cassette / Digital Album
Hardlab is a new French duet composed of Pierre Lienhard and Pierre Labret. After working together on a cassette release last year respectively as producer and art director, they decide to join forces in order to share their common passion for Industrial music, witchcrafts stories and sci-fi dystopias. This album was mainly recorded live earlier this year in several jam sessions using hardware sequencers, synthetisers and a bunch of effect pedals. These mad scientists experimentations led to a melting of dark sounds, agonizing textures and weird rhythms.
CD / Digital Album
NADANNA proudly presents its new project, the Canadian synthpop act TECHNIQUES BERLIN! Formed in 1984 by high school buddies Andreas Gregor and David Rout, the band started experimenting with synthesizers, drum machines and guitars. In the early stages, TECHNIQUES BERLIN was heavily influenced by UK new romantic acts like Japan, Spandau Ballet, Visage, The Human League, Orchestral Manoeuvres in the Dark, Yazoo and Depeche Mode as well as rising Canadian synthpop bands Rational Youth (Dave become a member in 1998/99), Men Without Hats and Trans-X. It took them a few years to master their electronic toys and create a unique blend of addictive electropop melodies and beautifully crafted alternative beats.
In the late 80s, TECHNIQUES BERLIN played live on a regular basis and their 3 cassettes, released on their own Bombshelter label, received frequent local airplay in Canada. Despite their moderate success, the band failed to secure a record deal. A&R reps would comment that their songs were either too alternative to be classified as pop, or too pop to be alternative, which became rather discouraging in the long run. By late 1991, the band members had developed a strong interest in the burgeoning electro-industrial scene. Dave and Andreas had founded Bang Elektronika and were working with Digital Poodle as live drummers. Both of these projects were soon picked up by record labels. TECHNIQUES BERLIN played their last show at the University of Toronto in November of 1991, debuting the last track they had recorded, fittingly called “Time Fades to Nothing”.
Now over two decades later, TECHNIQUES BERLIN is staging a remarkable comeback! Encouraged by the growing interest in the long out-of-print “Back Issue Volume 1 and 2” (now available on iTunes) and the highly sought-after compilation “Suburban Playgrounds and Concrete Beaches” (released by Fabrika Records on vinyl), Dave and Andreas have decided to bring TECHNIQUES BERLIN back to life. A series of shows in Toronto and Montreal saw the addition of keyboardist and backing vocalist Dina Naskos to the line-up. To celebrate the anniversary of the label that they founded, they included an unreleased track on the 7” EP, Future Past, on the Bombshelter Productions label.
Andreas, Dave and Dina have completed an album of brand new material, titled “Breathing”. The set consist of the new album, as well as a previously unreleased material and alternate versions of tracks from the Bombshelter vaults. The 2CD version includes a bonus disc featuring remixes by the best of the minimal synth, electropop and Italo Disco scene!
2 x LP
Monsieur Crane présente 11 pièces d’un puzzle embrumé. Instantanés de vies dispersées. Condensé d’amertume qui plombe autant qu’il libère.
Prendre le temps de se regarder dans le miroir
Et de basculer de l’autre côté, dans l’obscurité
Le temps d’un mois de novembre
Un temps de Toussaint, un temps de Samain
Le temps de laisser ce qui nous a coûté
Le temps d’oublier sa main
Et de se reprendre
Regarder dans le rétro
Fixer les ratés, les remords
Garder l’horizon en ligne de mort
Encaisser les coups
Soigner les ecchymoses
Le temps de passer à autre chose
Envers et contre tout
Cassette / Digital Album
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