Background/Info: “Medusawater” is the third full length released on Meshwork Music (label set up by Seven Ni-Arb/X Marks The Pedwalk) and the debut album by Ferrochrome. This band is a rather surprising sonic voyage created by Dirk Krause (Armageddon Dildos, DKDENT, Retro Adapter) and Aidan Casserly (Empire State Human, KuBO). This new project in a way is a come-back of Dirk Krause.
Content: I didn’t know what to expect from this work, but it clearly sounds miles away from ‘old’ Armageddon Dildos stuff. The first song reveals a few arrangements reminding me of the ‘dildos’, but the composition rapidly becomes more and more electro-pop like. But it’s not a ‘classical’ electro-pop approach. Dirk Krause gives me the impression of often experiment with sounds and effects, creating a new dimension.
If you’re already familiar with Aidan Casserly you for sure know his unique timbre of voice. This is the kind of singer who you’ll directly recognize once you’ve heard a song on that he is singing.
+ + + : Sound-wise Dirk Krause took me by surprise. He remains a talented musician who transposed himself into a visionary electro-pop composer. Forget the familiar synth-pop standards and get ready to discover an experimental pop style carried by evasive passages, multiple sound effects, exotic vibes (cf. “Medusawater”) and retro-influences. Aidan Casserly is a singer you gone like or not, but one thing is for sure; this man has a unique timbre of voice!
– – – : I’m not always convinced by the harmony between some of the songs and the vocals, but that’s maybe due to the album’s diversity. The work sometimes feels a bit like a sonic exorcism of multiple ideas instead of a homogenous composition. I really like some of the songs while others left me skeptical.
Conclusion: Meshwork Music wants to be home for ‘advanced’ electronics and that’s for sure what Ferrochrome deals with. This is a unique electro-pop band, maybe revealing the pop music of the future and distant generation.
Best songs: “Fighters In A Cage”, “Welcome The Night”, “One Million Cries”, “The City”.
Since you’re here …
… we have a small favour to ask. More people are reading Side-Line Magazine than ever but advertising revenues across the media are falling fast. Unlike many news organisations, we haven’t put up a paywall – we want to keep our journalism as open as we can - and we refuse to add annoying advertising. So you can see why we need to ask for your help.
Side-Line’s independent journalism takes a lot of time, money and hard work to produce. But we do it because we want to push the artists we like and who are equally fighting to survive.
If everyone who reads our reporting, who likes it, helps fund it, our future would be much more secure. For as little as 5 US$, you can support Side-Line Magazine – and it only takes a minute. Thank you.
The donations are safely powered by Paypal.