Now PlayingTolouse Low Trax - Mental Tent WickedTune In     Song History
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The interstellar cosmonauts of Staatseinde create a theatrical mix of pulsing electro with nostalgic hopeful synthlines, all performed live with synthesizers, a sequencer and tantalizing vocals. From Wave to EBM, from NDW to Punk and everything else in and out of the box. It is like walking into a club meeting Kraftwerk on speed and The Sex Pistols on acid. Their new release “De Nieuwe Golf” is characterized by dystopian prospects and hopeful sounds, confirming Staatseinde’s name as the founder of the “Neue Niederländische Welle”, in other words the New Dutch Wave. The uplifting italo rifs in opening track “Grauw” take you on a journey through a gray world in which color cannot be taken for granted. Minimal wave track “Einzelganger” makes you feel like an outsider who can’t keep up with society. “Geef Me De Tijd” sounds like a schizophrenic dreamer swinging casually, but ending as a hard hitting track. Dystopian doom and pessimism is captured in EBM/techno floor filler “Doembeelden”. The raw West Coast Sound of Holland infused “La Haya” is a tribute to the city of The Hague which calls out on everybody to get wasted. The epic ode to space travel “Ruimtevaart Vooruit (2022 Refix)” is back in a rendition inspired by Rude66’s 2010 remix version. “Isla Inutile” is a dark and tropical delirium. In the hopeful “Alles is Weg”, Staatseinde takes you from the downfall on the way to…? Staatseinde’s “De Nieuwe Golf” holds up a mirror to humanity…progress has not helped us any further. There is hope…but will this new wave be on time? Or is it already too late?
“Martyrdom: Eight Exercises” is a concept album that examines the documentation of neurosis in form of art and the process of suicide as “artistic martyrdom”. Each song is related to an artist who died by suicide: Adrian Borland (The Sound), Richey James Edwards (Manic Street Preachers), Ian Curtis (Joy Division), Per Yngve Ohlin (The True Mayhem), Yukio Mishima, Peter Tyrrell, Osamu Dazai, Robert E. Howard.
The Serfs are a deliberately nebulous and incidentally industrialist gang of dance-floor hymners – perturbed and tranced-out troubadours whose sound and musical ideology seems to be a causal manifestation of their immediate environments. Like their Ohio predecessors, The Serfs seem askew from the art that surrounds them, and proud of it. |
