Background/Info: Alice Kundalini is back on track unleashing the third full length from her sonic project She Spread Sorrow.
Content: “Midori” is meant as an escape from a harsh reality that becomes an echo of nightmares and visions. That’s an interesting ‘concept”, which has been transposed and adapted into a spooky industrial work carried by the half spoken, whispering vocals of Alice Kundalini. Her way of performing the vocals is not only ghost-like, but also sensual. It creates a contrast with the industrial crashes and other oppressive, dark atmospheres this work has been recovered with. Echoing noises are emerging from everywhere, rapidly leading the listener into a paranoiac imaginary universe. You feel like walking in an empty space while ghost trains are passing by. Some heart-beating drones in the background are like accentuating this sensation of stupor.
+ + + : One of the main strengths of this work is the strong visual content. It’s a tormenting experience accomplished with a brilliant harmony between the vocals and the harder industrial soundscape. I really think there also is something like a ‘female’ touch only women can create when composing their music. Alice Kundalini accomplished a harsh and yet delicate work filled with subtle arrangements. There’s a real cool slow progression running through the tracks, which are leading the audience towards a dangerous climax.
– – – : If I really have to imagine a minus point about this album it would be the somewhat similar character of the tracks. There are for sure some climaxes running through this opus, but maybe not the ultimate apotheosis. That’s maybe because I prefer the opening cuts instead of the last ones.
Conclusion: She Spread Sorrow has invented a very own style creating an artistic and styled industrial work. This album is without a shadow of a doubt the most accomplished one so far.
Best songs: “Night One”, “To The Light”, “Escape”, “The House”.
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. And unlike many news organisations, we haven’t put up a paywall – we want to keep our journalism as open as we can. 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.
This website uses cookies to improve your experience. We'll assume you're ok with this, but you can opt-out if you wish. Cookie settingsACCEPT
Privacy & Cookies Policy
Privacy Overview
This website uses cookies to improve your experience while you navigate through the website. Out of these cookies, the cookies that are categorized as necessary are stored on your browser as they are essential for the working of basic functionalities of the website. We also use third-party cookies that help us analyze and understand how you use this website. These cookies will be stored in your browser only with your consent. You also have the option to opt-out of these cookies. But opting out of some of these cookies may have an effect on your browsing experience.
Necessary cookies are absolutely essential for the website to function properly. This category only includes cookies that ensures basic functionalities and security features of the website. These cookies do not store any personal information.
Any cookies that may not be particularly necessary for the website to function and is used specifically to collect user personal data via analytics, ads, other embedded contents are termed as non-necessary cookies. It is mandatory to procure user consent prior to running these cookies on your website.