ALBUM REVIEW: Nótt eftir nótt – Kælan Mikla
Synthwave has been the break-out genre in alternative music this year. The premise of heavy electronica is nothing new, of course – Gary Numan has been supplying this for over three decades now and the more industrial elements from acts such as NINE INCH NAILS and COMBICHRIST have always resonated with rock and metal fans. Similarly, bands like THE PRODIGY and PENDULUM have transcended their roots in the rave and drum and bass scenes respectively to play huge slots on festival bills along the likes of metal heavyweights IRON MAIDEN and METALLICA. Until now though, taking the above and blending it with the shimmering, upbeat pop strains of the 80s has never really been done. CARPENTER BRUT has proved that not only can this be achieved, but also produce results; a sold out show at the Koko in London and a headline slot on the Temple stage at Hellfest being testament to that. But what if you were to balance synthwave with a more ominous, ambient setting that taps into the more barren landscapes made famous by the likes of Trent Reznor? The answer: darkwave. It’s here that we find KÆLAN MIKLA.
An Icelandic trio who have taken their Nordic traditions and expertly combined it with drawn-out keyboards and samples to produce a bleak canvas befitting of their country’s winter in the guise of Nótt eftir nótt, their third studio album out now via Artoffact Records. The band were handpicked by THE CURE frontman Robert Smith for his curation of Meltdown Festival this year and it’s easy to see why; the sombre overtones would certainly appeal to fans of the gothic outfit and ensure that, even when the tempo quickens and a song like Nornalagið (translation: The Witches’ Song) becomes upbeat, it does not deter from the feel and theme of the record as a whole. There’s also, as can be imagined, a healthy dose of yesteryear, with the likes of Skuggadans (Shadowplay) and Draumadís (Nymph of Dreams) tipping their hat to some of the pioneers of gothic industrial in THE SISTERS OF MERCY and FIELDS OF THE NEPHILIM.
Scratch below the surface however and you’ll find that KÆLAN MIKLA are more than just very good musicians; they understand the finesse of composition and have crafted Nótt eftir nótt with utmost dexterity. An example of this is Andvaka (Sleepless), which delivers an icy blast in the wake of the pop stylings offered by previous Næturblóm (Nightflowers); it offers a more robotic, androgynous style of electronica with the vocals now more shrieking than sung, but despite this contrast never loses sight of the overall mood. It’s also seen in closing track Dáið er allt án drauma (Dead is all without dreams), which swirls and twists through all manner of ambience and keyboards, allowing for a full, engrossing experience despite the cold, desolate location that Nótt eftir nótt succeeds in taking you to.
For those who find the whole synthwave genre a bit of a gimmick, this is a very good entry point that proves the style has legs and the darkness that envelopes Nótt eftir nótt would appease those who follow CHELSEA WOLFE, MYRKUR and others who fall into the post-black area of the extreme metal forest. KÆLAN MIKLA might have been given the backing of a musician with a serious pedigree, but they’re proving they can live up to their hype.
Rating: 8/10
Nótt eftir nótt is out now via Artoffact Records.
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