RELEASE: Hello We’re Not Enemies
RELEASE DATE: 17th June 2016
RECORD COMPANY: Seashell Records
Hello We’re Not Enemies is an album by Milan-based electronica outfit Novanta. On this release, over seven tracks of varying lengths and degrees, Novanta carve and pump out a wide range of beautiful and elegant alternative genres that paint a shimmering picture of a band who are fully pledged to their art form. And that is one compliment that must be instantly handed to Novanta and this album; it is a reflection of a band with a plan who have laid out seven diverse but fantastic tracks, in a great track listing, giving each song enough space to bounce off the one before. It is hard to explain, but after listening to the album over and over, it is its structure that (besides the music) is one of its strongest points. This coupled with its echoed Synthwave production and mixing, make for a refreshing, interesting and great listen.
The album opens with the atmospheric intro-instrumental track, ‘Sonder’. With its humming and heavy synths, it seeks out to paint a picture in the listeners mind, and does so successfully. What is this picture? It is of a dark, empty highway that runs through a metropolis like city, perhaps in the 3000’s; and the band take the listener on a journey down this very highway, equipped with bouncing drum machines and an elegant and neon-bright soundscape. It is a piece of darkwave genius that leads straight into the belly of the beast; or in this case, the heart of the city. ‘Goðafoss’ follows on from the synth of ‘Sonder’ but adds a whole other dynamic at around the fifty second mark with a flood of soaring synth, drums and a neat background guitar to create an emotive and sophisticated coldwave sound, descending into the depths of post-punk. This is one of the albums greatest tracks, perhaps partly based on the fact that although it is sung in a language other than English, I can still (without understanding the lyrics) feel the vocalist’s sensitive and magnificent performance and know it is of a whole other stature; that it is a brilliant track. As the song pumps on in a post-punk/electro tone, it flows out into a beautiful final piece of keyboard contemplation and ceases at around the three minute mark, even though I could have listened to double its running time and still be immersed in the sound and music. ‘Mike’ begins with a kick drum-heavy eighties inspired drum machine, and seeps into a serene bass and keyboard hum, with great Cure-esque vocals that build the song up to its dark and glistening chorus, where climbing synths pulsate the background. If ‘Sonder’ was the trip toward metropolis and ‘Goðafoss’ was a metaphorical wander of its dark streets, then ‘Mike’ is the contemplative subplot of a character lost within the city labyrinth, rising in elevators, staring out the window as it climbs a massive building. ‘Mike’ is visiting the cold, rolling shoreline and gazing out as the wind blows in from a land beyond; utterly enthralling.
‘Tell A Story’ holds up the middle of the album with dream pop sensibilities and composure, but Novanta attempts to stuff the track full of different genres; an act that does not propel ‘Tell A Story’ to the monumental heights of the previous tracks. Instead, the song seems drawn out and jumps from sound to sound, with a reverbed and low-mixed dreampop/shoegaze vocal track in the background, coupled with the slow tap of a drum machine for a full and heavier sound. ‘Blue Lagoon’ stands at over seven minutes and utilizes a similar sound to the opening three tracks, although this song becomes less engaging at the beginning and flourishes as an intelligent and full sound toward the tracks closing. I feel like there is more potential in this track, as the band have demonstrated before how talented they are at choosing their sounds wisely; as it is used only minimally on ‘Blue Lagoon’. However, the three minute mark shines brightly another intelligent piece of music making from Novanta; who enhance the track to a tribal, dream like stature. ‘Melted Eyes’ closes the album with an eerie, dream evoked sound with a touch of darkwave that connects fantastically with the other tracks on the album. If the listener has been wandering the proverbial dark metropolis landscape for the album, then ‘Melted Eyes’ serves as a clever conclusion and a meditative beginning. The piano that touches quietly over the rumbling synth shines light into the heart of the darkwave resonance, and the listener emerges quietly from the labyrinth of coldwave into a whole other world full of light. At the same time, the distant tone of the vocals evokes a sense of contemplation deep within, coupled with a reflective power that allows ‘Melted Eyes’ its own beautiful place on Hello We’re Not Enemies.
The opening three tracks are the absolute highlight of the entire album; they spin with darkwave perspicacity that sooth and offer the listener the opportunity to reflect on the deep and post-punk influenced sounds of the album. Although this is not necessarily a concept album, I felt as though the first half was a fantastic construction of the aforementioned picture of a metropolis like city. With this in mind, I felt the middle few tracks fell out of this concept; so I examined them as songs in their own right and felt only moderate interest toward them. Novanta pull themselves together, however, and finish quite strongly on the last few tracks. Overall the album is great; but it could have been even greater, with a more direct and fleshed out sound. The production is good, the mixing is strong and the performances should be praised on all the tracks. With Hello We’re Not Enemies, Novanta meld together post-punk, electro, shoegaze, darkwave and synth stylings to create a fusion album of spectacular depth, a reflection of their skill with the art of sound.
‘Hello We’re Not Enemies’ was released on the 17th June 2016 via the Palermo based independent record label Seashell Records: seashellrecords.bandcamp.com
ABOUT THE AUTHOR:
Cam Phillips is a writer and above all, a music lover, who seeks to gain experience through writing and listening. He is also an avid film viewer and art and literature junkie who enjoys creative writing. His most recent published work was featured on the Australian heavy music blog, I Probably Hate Your Band.