Second album that confirms the potential that the band had already expressed with the debut album "The White Days". This year, they have grown their reputation, without exploiting for this the militancy of Fabrice in Ranja, for the brave choice to be appreciated for the music they make and not because "they are members of ...". In this album there are 10 tracks, Sung in German, French and English, like the former one, to use the sound characteristics of each of these languages ??to express different moods. "Tonband" is characterized by the powerful bass line clearly influenced by post punk, enlightened by cold keyboards, and sometimes enriched by a female choir. "Mask" is slower and claustrophobic, where lingering doubts are emphasized by the double singing in French and English, in which the female voice of Lissette Schoenly that seems emphatically describe the emotions, as if to represent the voice of conscience, or a like a sign of schizophrenic estrangement. "Indianer" has a firm tone, nervous, a crescendo marked by a repetitive drum machine and a minimal synth, to which are added sounds, to add more and more strength, pathos to the track. "Ignite" is characterized by a forestanding bass and effected sound, at the border of distortion, lile to emphasize an emotional tension, a turmoil raging like a fire. "L'Aurore" is a melancholy piece, very slow, where the instruments seem to accompany as a background the spoken lyric to let it in the spolight. "Rabid Dog" opens winking at minimal sound that seems to be the peculiarities of several groups of the last wave, especially in France, and then grows to a faster pace, almost punk, but still very meager. "Lodged" still has analog synths forestanding, and is characterized by the duet between Chroma and Carbon Kriistal Ann, that has already widely experimented with the side project Sine Silex. "Disaray" is a piece very wavish , with a voice with effects that gives a sensation of remote '80s, as the whole piece, which looks straight out of a vinyl of the early stage, keeping intact all its charm and its emotional grip. "Klinge" alternates glacial keyboards punctuated with a nervous bass, that gives a tormented aura to the song. "The Owles" is a slow track, almost anthropomorphic, where the rhythm of the bass reminds a heartbeat, and the guitar riffs evoke nearly the emotions described by the voice. This is, an album that will not disappoint those who either already knows them or, more in general, the fans of the 80s sound, the one of the wave of the origins, here also legitimized by the long militancy of Chroma and Fabrice, and by the DNA of Theotime.
