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23/10/2015 : DOUBLE EYELID - Seven Years

DOUBLE EYELID

Seven Years

MusicCD
Post Punk

[76/100]   

Self-released
23/10/2015, Didier BECU

EN

Admit it, if you read in a biography that a band is influenced by Bauhaus, Sex Gang Children, David Bowie, Edith Piaf, and Christian Death, you immediately want to play that record, right? In all fairness, daily our editors are bombarded with new death rock groups that claim the same, while often they are nothing more than a slight decoction of their idols, but that is different with this Toronto band.

The music of singer Ian Revell, guitarist and keyboard player Karl Mohr Benjamin Mueller-Heaslip is even more than just death rock or post-punk. The first song (and also the single) Black Box immediately evokes the dark days of The The, while Diamond Cutter is almost a tribute to the later Wire. Those names do not just fall from the sky, because the ten songs (even including the cover of The Stranger by Rozz Williams) have an idiosyncratic post-punk sound that can be situated somewhere between Television and Bauhaus. So, do not expect any sing-alongs like say Editors or White Lies, but rather intelligent compositions with a dark twist like She's Falling, that could have been written by Nick Cave.

No,this Canadian trio doesn't makes it easy for the listener, but that's a good thing. That is why we still listen to Marquee Moon after 40 years, and that could be the case with Seven Years too!

Didier BECU
23/10/2015


NL

Geef het toe, als je in een biografie leest dat een band zijn invloeden uit Bauhaus, Sex Gang Children, David Bowie, Edith Piaf en Christian Death haalt, dan krijg je toch onmiddellijk zin om zijn muziek in je lader te duwen, niet? Eerlijkheidshalve wordt onze redactie dagelijks bestookt met tal van nieuwe deathrockgroepen die hetzelfde beweren en vaak niet meer zijn dan een flauwe afkooksel van hun idolen, maar dat is bij deze band uit Toronto toch eventjes anders.

De muziek van zanger Ian Revell, gitarist Karl Mohr en keyboardspeler Benjamin Mueller-Heaslip is zelfs meer dan deathrock of postpunk. Het eerste nummer (en tevens de single) Black Box roept meteen de donkere dagen op van The The, terwijl Diamond Cutter bijna een ode aan de latere Wire is. Het zijn geen namen die zo maar uit de lucht zijn gegrepen omdat de tien songs (zelfs inclusief de cover van The Stranger van Rozz Williams) als zeer eigenzinnige postpunk klinken die je ergens tussen Television en Bauhaus kan situeren. Verwacht dus geen kant-en-klare meezingers, maar eerder intelligente composities die steeds een donker tintje hebben, zoals bijv. She’s Falling, dat uit de pen van Nick Cave kon komen.

Neen, dit Canadese trio maakt het de luisteraar niet bepaald gemakkelijk, maar dat is maar goed ook. Daarom luisteren we veertig jaar na datum nog altijd naar Marquee Moon en dat zou met Seven Years ook wel eens het geval kunnen zijn!

 

Didier BECU
23/10/2015


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