The Lisbon-based electro-rock duo with a glam vibe offers us a second album. The two accomplices are always driven by the will to unmask the hypocrisy of today’s world through irony and cold mannerism. This game of unveiling the inauthentic is however a double-edged sword. It requires a subtle dosage in their own relationship to authenticity, which is sometimes lacking.<\/p>\n\n\n\n
The whole is indeed a bit forced, starting with Su Eko’s singing. Her ironclad voice is nevertheless perfectly suited to their musical style. However, on \u201cBitch Face\u201d, one of the strongest tracks of the album, she makes an immoderate and tiring use of vocal fry. As an example, Marilyn Manson took full advantage of this technique using the lowest vocal register. However, Eko relies on it too much, and the desired effect of disillusionment shifts rather to the listener’s side. This same track succeeds nonetheless in winning our assent with an ample sound, exuding a certain serenity in its tender transgression. We then move on to drum & bass on \u201cCash and Move\u201d, strong of Eko\u2019s caustic impulses. \u201cNoise\u201d is certainly the best track on the album. The duo steps away from standard electro-rock to explore dark and minimalist sounds, with martial rhythms. Original sonorities also capture the attention on \u201cThe Key\u201d, especially in the final push.<\/p>\n\n\n\n
The pair\u2019s affectations prevent them from completely resolving their artistic proposal. In spite of this uneven album, we’ll lend an ear to their next production.<\/p>\n\n\n\n