When Saints Go Machine: Konkylie

When Saints Go Machine
Konkylie
Rating: Woof Daddy

Remember during the Alan Wilder years of Depeche Mode, how with each album the band experimented with sound, meticulously pouring over each track to make something new and interesting? There was always the "Depeche Mode" sound, but they were always pushing at the boundaries, so it remained fresh. Once Wilder left, the band basically went on autopilot, focusing more maintaining their success rather than striking out in any new directions. Perhaps back in the 80s-90s bands were working with limited equipment and were having to work to create new sounds. Now, anyone with a laptop and an Internet connection can make music, and that sense of wonder and imagination has sort of faded. Every once in awhile, a band or artist comes around with that spark of trying something different and challenging, but working in the realm of pop music. Danish quartet When Saints Go Machine, led by otherworldly vocalist Nicholas Vonsild, don't necessarily sound like Depeche Mode, other than the fact both primarily use synthesizers, however, they share the same restless creativity Depeche Mode enjoyed during their mid-80s tenure. It is actually quite difficult to describe the band's sound. Imagine a cross between the heavily treated electro-pop of The Knife and Fever Ray, the fluttering, archly fey vocals of Antony Hegarty, and the house music stylings of Hercules and Love Affair, and you might get slightly close to their sound. Instead of spending time trying to spot the influence, it is better to just allow the waves of quirky synth-pop wash over you. Word of caution, however, you will either love Vonsild's voice or will hate it. While it is not as polarizing as the lead singer of WU LYF, it still has some definite quirks.

Konkylie doesn't sugar coat things from the beginning. Leading with one the albums most challenging tracks, Vonsild's vocals rise out of a fog of amorphous synthesizers, mutitracked into a chorus of avant garde angels, lifted by twinkling keyboards and horns.



"Church and Law" begins almost like a Renaissance ballad before the bass synths kick in for a lush mid-tempo pop number, filled to the rim with quirky synth tones.



Konkylie straddles the line beautifully between all out pop bliss and darker, edgier tracks. I am slightly more partial to the more mainstream pop tracks, as Vonsild's voice tends to work better when it is reigned in slightly. "Terminal One" is by far the most pop friendly song, Vonsild's voice in a lower register, backed by a funky backbeat and spritely synths.



"Chestnut" is darker, yet still has a more mainstream edge, Vonsild singing in a baritone, staccato bursts of electronics punctuating the liquid mix of beats and synths.

When Saints Go Machine - Chestnut by WalterHeape

"Kelly" is all sunshine keyboards and melodies, perfect for a summer day.



And "Parix" is probably the best of all When Saints Go Machine's worlds, featuring a mix of Vonsild's low-key approach with more fluttering/multi-tracked flights, lying on beds of burbling synthesizers.



This is not to say that I don't enjoy their more experimental tracks. I believe Konkylie would not be the success it is without the mix of pop songs and avant garde tracks. This mix definitely shows the band's range and depth. The whooshing synths, cooing vocals, and strange use of vocal samples on "The Same Scissors" is the perfect bridge between the two approaches.



"Jets" uses a chugging afro-pop beat over deranged synth loops, getting more and more percussive as it unfolds.



"On The Move" and "Whoever Made You Stand So Still" form almost a mini-suite of classical leaning ambient music, with Vonsild taking the most chances with his vocals.




Konkylie is endlessly inventive and fascinating; a pure joy of pop thrills and ceaseless creativity. It is highly recommended for anyone who enjoys stepping outside their comfort zone.

Rating Guide

Chilfos: masterpiece; coolest thing I've heard in ages.

Woof Daddy: excellent; just a hair away from being a masterpiece.

Grrrr: very good; will definitely be considered for my top releases of the year.

Yeah Daddy Make Me Want It: good; definitely invites further listens and peaks one's interest for more material.

Meh: not horrible, but certainly not great; could have either been polished, trimmed, or re-thought.

Jeez Lady: what the hell happened? Just plain bad. They should hang their heads in shame and be forced to listen to Lady Gaga ad nauseam as penance.

Tragicistani: so bad, armed villagers with pitchforks and torches should run the artist out of the country for inflicting this abomination on the human race.