Another facet of advertisement reveals itself! I hired an artist to illustrate some characters for Second Contact Is Worse, and he recently completed the job, so I figured I’d upload them so that they’d be on the internet. That’s a reasonable course of action, right? These illustrations were made by Łukasz Juśkiewicz from Poland. If you like them, be sure to check out his deviantART page… where you can also see the cover art my book’s going to have upon publication. He’s also open for commissions, so if you think his style is appropriate for your own works, I highly recommend you look to him for work. The artwork you’ll see after the jump (assuming you read this from the front page and don’t click directly through to here) is legally his property, although I made sure to get usage rights, so if you want to do something with this art for whatever reason, please contact him instead of me to get permission.
Hold your mouse over these images for character descriptions. Shrewd readers will note that I do this for pretty much every image on my website, although I usually don’t upload this much text.
A lot of metalheads seem to like VNV Nation, even though since it’s an electronic pop act, it kind of falls far outside that genre. Matter + Form has a lot of rock influence filtering into it for whatever reason, though, whereas earlier VNV material pulls on industrial/EDM to a more obvious degree. The ideological underpinnings of the band (lots of militant futurism, although positive) remain intact, but this is a pretty easy sell to the average listener. While the band started their career in Britain and Ireland, they’ve made their way to Germany, where they perform decently (#38) in the local songcharts. Anyways, they probably sell more albums than the last band I talked about.
Partially because VNV Nation uses a wide variety of synthesizers, Matter + Form doesn’t really have a consistent aesthetic, but most songs are fairly mid-tempo and not particularly dense in their soundscapes. Occasionally, you get relatively driving, aggressive instruments like on “Chrome” and “Entropy”, but just as often you get literal ballads – for example, “Endless Skies” and “Homeward”. Not sure what to make of that, really, beyond that it’s a standard move in much of the western pop traditions. Compared to previous albums, and starting a trend that showed up on Futureperfect, Ronan Harris’s vocals are less processed – trading a more natural character for less ways to make songs fit into a common aesthetic.
Actual compositions here are split between more openly poppy content and tracks more reminiscent of the electronic dance music “scene”. There are obvious nods to a more ambient style of composition (See “Strata”/”Interceptor”) at times, and you don’t need my backlog to show you how I prefer that style… have it anyways, though. It’s hard to say whether the more accessible content on this album is actually strengthened by the nods towards guitar-driven rock music (the aforementioned “Chrome” uses sounds that sometimes remind me of an amped up guitar), or whether I merely am drawn to those for their stylistic decisions. Either way, it does seem to give that part of the work more staying power, even if only subjectively. These songs do, however, showcase Ronan Harris’s lyrics – he’s rather good at tapping into relevant concepts and giving them a bit of a mythical sheen.
I guess that given where I come from, the best comparison I can think of is Prince of the Poverty Line by Skyclad; unfortunately due to lack of listening experience, I can’t really talk futurepop. However, both of these albums are relatively mainstream for their chosen genre, but are strengthened by their understanding of pop songwriting and well written lyrics; furthermore, they use aesthetic changes to distinguish songs from one another. In the end, I suppose I like them for the same reasons, and they might come from the same mental space. Given when I first listened to it (late 2012) and what I followed it up with, Matter + Form definitely turned my attention towards various permutations of vocal-oriented electronic music; even though I don’t listen to it as much anymore it has certainly broadened my horizons. I guess that accessibility does come in handy sometimes!
Highlights: “Chrome”, “Color of Rain”, “Entropy”, “Lightwave”