The single, “Just Like Rain” was released in April by Fargo native, Todd C Ruzicka under the moniker Immune System. Ruzicka is also known for his other, main project, Seven Federations.

TODD C RUZICKA

This is a bright and synth bubbling piece, reminiscent of the early 80s electronic era mixed with a Euro/italo dance appeal. If this is a love song, it seems a little on the dangerous side. The beats drop and swell, building and swirling with the end containing the surprise strings.

Retro synth-pop is the order of the day and this is a busy little number. Not breaking any new ground but “Just Like The Rain” is rather enjoyable and if electronic music is your thing then go check out Immune System.

https://immunesystem.bandcamp.com/track/just-like-the-rain

https://www.facebook.com/todd.c.ruzicka

IMMUNE SYSTEM | ReverbNation

December 2020, saw the album release for StereoTYP by Canadian artist, JHNN. Based from Calgary, JHNN said ‘Basically the album was made from 2016-2020 and it’s about my biggest pet peeve of society which is the existence of StereoTYPs“.

JHNN

Kicking it off with with the soundscape science fiction plains of “Children Are The Future“. My first foray into JHNN’s style and it’s smooth strangely, almost hypnotic with his voice drifting above the electronics as he explains that children don’t see skin colour or disabilities like adults do. They see another human.

East Hastings” is a very stripped back piece with a machine gun style beat. The lyrics are literally ‘Remember, When you said, Never again‘ with the never again said a hundred and fifty- one times. It does build to a climax that reminds me a little of Boy Harsher.

I can hear the techno and house influence in “Again“. There is the ever pervasive synth line throughout with others layering over and around it. It feels slightly haunting, trying to survive the after effects of a traumatic relationship.

The lyrics alone for “The Takeaway” made me instantly think of the David Bowie single, “I’m Afraid Of Americans“. Maybe the format and purpose are similar as this was Bowie and Brian Eno’s industrial phase. However JHNN does far more slow burn electronic, that harkens back to a more European flavour.

From the sing song beginning, “The Warning” is claustrophobic. The tale of how a person wants to control everything around him to stop him losing control and yet he knows he can’t control anything, least of all himself. The bursts of static style noise and wandering plucked notes keeps you on edge.

The Warfare” is a follow on from “The Takeaway” and “The Warning“, a trilogy of mental health breaking down. You feels his growing tension and anxiety with the nervous beats growing with JHNN’s vocals making you wonder when he might explode.

Addiction…. explaining that anything that you invest too much of yourself into and get lost in, is almost as bad as an addiction to “Heroin“. It can be self destructive. This music starts like a drug induced stupor where everything feels great and there is nothing outside of this. Towards the end, it seems like a free fall with JHNN’S breathy vocals.

Is someone into you due to an ideal or because you look like someone else? Do they see the person below the surface skin colour? “Fetish” asks these questions. There is a slight disjointed nature to the music, like the vocals don’t quite gel with the music, which is entirely on purpose to put you at unease.

The Lie” starts like is being played backwards. It launches a great synth line with layers of electronics added and diminished throughout. It’s a heavy subject. Is religion the greatest lie ever told? If you believe, does it mean you need all the indoctrination to believe in a God?

For a moment I don’t hear anything, before a simple few notes register for “Crisis“. This is a instrumental, a graduation of textures, that then wends its way, then seemingly falling into the pit of despair.

Track number eleven is the final on the album. “Darkness Will Always Be There” could be a downer but oddly, this is light and free, a type of acceptance. There are sparkling synths accompanying the harsher ones.

This is a starkly personal album. It’s about struggling with mental health, personal relationships, the struggle of not being defined by your colour or being held to account by systems you can’t believe in, especially if they inhibit the person you are.

JHNN has taken you on a journey that includes anxiety and occasionally hopelessness but in the end there is also the realisation that unless you love the darkness within, then then you can’t live with yourself. This is an electronic saga that uses subtly to great effect. StereoTYP is a more laid back type of electro/darkwave that touches on the field of industrial and it is very powerful with its sentiment. Check out JHNN

https://jhnn.bandcamp.com/album/stereotyp

https://www.facebook.com/JHNNbook/

Deine Lakaien have been gracing our ears for 35 years and are now giving us their 10th studio album, Dual. These maestros of the experimental electronic – classical hybrid, have released a double album, with the first being all new music and the second showcasing covers that influenced vocalist Alexander Veljanov and composer/multi instrumentalist Ernst Horn.

ERNST HORN & ALEXANDER VELJANOV

The medieval flavour of “Because Of Because“, is a stately start. The classical overtones are simple and mix beautifully with the electronic components, Veljanov’s silken crooning, dripping over it all, about finding one’s piece of mind.

A slight middle eastern touch to “Sick Cinema” and a comment on artists involved in promoting less than reputable causes. The organ swirls and picks up pace. All quite gorgeous.

A ballad in the form of “In Your Eyes“, and it is a perfect piece of Deine Lakaien crystal that reflects a myriad of emotions and colours, of sadness and joy. The pledge of eternal love.

Snow” is as slow as it is beautiful. A tale of another era or a dream of what was. It is facile and warm, as if you can feel the shafts of sunlight that are sung about.

The electronic brilliance comes to the forefront in “Happy Man“, where a smile is enough to lighten a heart. The experimental textures abound and it conjours the mood of a courtly dance.

A near futuristic impression is given with electronic music of “Run“. Whatever happens in life, they ask their ‘braveheart‘ to stay on the move and keep their hopes alive.

Les oiseaux” is French for the birds and the feel is of feathers whirling in flight, going higher and higher with purpose. Maybe you can even hear them crying out to each other.

Sounds like a harpsichord in “Unknown Friend“, with a haphazard rhythm, making your senses spin. The synthesizer witters away in this timeless piece.

What is a qubit? A unit of measurement as seen in the Bible. “Qubit Man” comes with stringed instruments that make it sound off kilter, while the vocals seem near monastic.

The last song for the first album is “Someone To Come Home To“. A reflective piece about loss and longing for that person that makes you complete. The hurdy gurdy of emotions is keenly felt.

The second half of this album is the tributes to songs or acts that influenced Deine Lakaien but also they have matched to the feel and sound of tracks on the the first album. Starting with the Patti Smith and Bruce Springsteen piece, “Because The Night“, “Spoon” by Krautrock group Can, The Cure’s classic, “The Walk“, “Dust In The Wind” by Kansas, Kate Bush’sSuspended In Gaffa“, also surprisingly Soundgarden’sBlack Hole Sun“.

There were for me, some really stood out. “La chanson des vieux amants” was originally performed by Jacques Brel in 1954 and in English is known as the Song Of Old Lovers, which is wonderfully nostalgic. The Cat Steven’s track, “Lady D’Arbanville” is treated like electronic spun satin with golden threads.

The oldest cover is of the Russian, 1879 piece, “Song Of The Flea” by Modest Mussorgsky and lyrics from Goethe’s Faust which has gone from a piano accompanied piece to a cheeky, fun and quirky number with chimes, bleeps and Veljanov giving amazing belly laughs whilst singing in Russian. I admit to never really being into Linkin Park but have a new found respect through Horn’s handling of “My December“. It is delicate, sad and profound with strings making this feel even more compelling.

Ernst Horn has again created the near magical world that is occupied by Deine Lakaien. Classical/medieval traits mixed with the electronic genius we have come to expect. The warm timbre of Alexander Veljanov’s voice is so brilliant and utterly recognisable, the trademark of the band. Dual is the present and the past for Deine Lakaien, in a musical extravaganza which will make you fall in love with them all over again.

https://deinelakaien.bandcamp.com/album/dual

https://www.facebook.com/DeineLakaien