DER HIMMEL ÜBER BERLIN
Memories Never Fade
Although drawing from the dirgier side of the sepia-toned Post Punk, Der Himmel über Berlin creates a startlingly refreshing sound. The loud rhythmical spine is a worthy heir to the precursors' but they blend it with surrounding guitar melodies which are the real ace up its sleeve. This mixture becomes distinctive not only through its intense noir-feel-inducing, but also by the deftly way it's performed and polished. The band's debut album "Memories Never Fade" (intentions are declared) is a good evidence of that. Tradition and modernity go hand in hand throughout the eleven tracks featured in it, providing first class Post Punk/Wave hybrids. However, the Trieste-based ensemble doesn't restrict itself to recall illustrious spectres such as The Birthday Party, Joy Division, Red Lorry Yellow Lorry or Bauhaus. While conceiving the songs, there's enough room for intellectual and emotive exploration, therefore they stamp them with a unique character. The vigorous opener "Donau Ruf" seems an epitome of the early dark 80's. Coming with classic meandering riffs, the track is driven by skilful tribal drums and pulsating bass lines. Singer's low, unadorned modulations, join the distortions at the rear while infusing the piece with a haunting poignancy. Only the sharpen cymbals add some colour to the greyish ambiance. Percussion is so addictive that ends up infecting the other sections over the last third. All of them burst into an enjoyable choral explosion at the end of the song. Next cut "A Sad Boy" appears breezier in spite of its title and is taken by a swarm of jangly guitars and catchy rhythms. Both tunes are strong candidates for playing on radio stations and clubs. Following "Night Moans" carries with it an unsettling atmosphere. This track takes one step into the void and falling, dragging the listener with it. Anxiety could be truly felt through its sweeping chords. Another crowning moment arrives with "We dreamt to be happy". Every note oozes gloom and rock, as if they were played by a modern-day Stiff Kittens. The tender bass throbs make up the backbone, along with the thumping and crashing hooks. Around this core, the guitarist bursts twirling figures, connecting with the chorus in a memorable passage. Bleak bass strums throw "Birch Forest" in contrast with some children backing samples. The song expands and collapses constantly as a sonic metaphor of the childhood dreams and their subsequent frustration. Following "Blue Scarecrow" slows down slightly the tempo and then an overwhelming feel of grief is injected to the soundscape by moaning distortions and hums. Pace is cunningly changed and melodies are varied enough to keep the mood balanced. Taken together, all these elements result in an exciting and personal Goth Rock tune. "Strawberry Lipstick" makes its appearence full of dislove. Vocals and bass playing are pretty seductive, specially through the song's slower parts. "Varena" follows more easy-going and optimistic, propelled by delicate string melodies and hypnotic cadences. "Eaten up" slips back again into melancholy terrains. Guitar neck buzzes in the distance while making up a vibrant counterpoint to the solemn, almost spoken vocals. "Sweet Dancing Butterfly" is another highlight in this repertoire. The song evokes some musical memories that will make the veterans' hair stand on for sure. It's filled with genuine New Wave grooves and hooks, but also retains enough darkness to placidly immerse in it. The brooding, yet warm, ballad "Alumette Lucifer" puts a coldly efficient clasp to this strange kind of musical purgatory where the weary souls can take solace.
Review by Billyphobia
- 01. Donau Ruf
- 02. A Sad Boy
- 03. Night Moans
- 04. We Dreamt To Be Happy
- 05. Birch Forest
- 06. Blue Scarecrow
- 07. Strawberry Lipstick
- 08. Varena
- 09. Eaten Up
- 10. Sweet Dancing Butterfly
- 11. Alumette Lucifer