When Saints Go Machine’s debut album ‚’Konkylie’ has been 2 years in the making, and it sees them moving their sound on into new, uncharted territory. On ‚’Parix’, Nikolaj’s spectral vocals, a mix of Antony Heggarty’s tremulous falsetto and Talk Talk frontman Mark Hollis, are pitched against a shimmering mirage of synths. There’s an echo of their clubland past on ‚’Kelly’, which is underpinned by a chugging, mid-paced beat. It’s the jumping off point for four-minutes of electro pop perfection, like Empire Of The Sun with some added Scandinavian cool. Nikolaj’s vocals, meanwhile, are never more beautiful that on the closing track‚’Add Ends’, where they float over skillfully orchestrated strings and gently popping electronics.
It’s an atmospheric reverie that transports you to another place. All told, it’s stunning stuff, esoteric, yet instantly accessible, the kind of underground record that everyone can buy into.
One of the things that sets When Saints Go Machine apart from their peers is that there’s a warmth to ‚’Konkylie’. They went to great lengths to inject an organic feel into the record,
experimenting with new recording techniques and locations. All the vocals on the title track and opener ‚’Konkylie’ were recorded outside in such unlikely spots as a tunnel and a forest.
An amalgamation of electronics, nature and the vast capabilities of the human voice have produced possibly the most memorable thing in Danish music to date. Have a listen, and
prepare for When Saints Go Machine.