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Psyche
The 11th Hour

Metropolis Records

Posted: Monday, March 27, 2006
By: Ilker Yucel
Editor

Psyche has managed to survive more than two decades in the electronic scene, due in no small part to the band's considerable talent as a songwriting force. From the melodic melancholy of Darin Huss' distinguished vocals to the returning Per-Anders Kurenbach's musicianship, Psyche has always delivered the goods when it comes to modern electro and synthpop. Now signed to Metropolis Records, and having recently released their hits album Legacy, the band brings us The 11^th Hour, a harrowing, but impressive display of bleak melodies, infectious rhythms, and ghostly electronic bliss the likes of which are usually reserved for goth bands. With the cover being the blackened remains of a dead bird, one would get the sense that Psyche might be making a deathly announcement with The 11^th Hour; the sound of the old Psyche is no more; now is The 11^th Hour, time to make or break for a new musical realm.

Right from the beginning, the band sound as if they've gone vampiric, with the loud bangs of pianos over a ticking rhythm, inducing that feeling of an alarm clock about to go off. And indeed, "Bloodcurse" does go off, with Darrin's vocals sounding darker than ever. The pace picks up slightly with "Yearning," as a slow-dance rhythm comes in with some eerie distorted synths countering some sad piano lines. "Defenseless" begins with a classical piano solo that gradually gives way to a pumping dance track; this is the sound of Psyche as most know them, purveyors of the modern EBM-inspired dance scene. The same can be said for "15 Minutes," with Darrin's spoken-style voice giving a sort of eulogy to those bands and acts that make their first impression during their 15 minutes of fame, only to disappear, leaving only a memory. The song comes out as somewhat ironic considering Psyche's 15 minutes have lasted 20 years; or perhaps it's prophetic, signs that the band may be nearing its end? Who knows? All in all, it's a pulsating track, perfect for the goth dance floor. The rhythm slows down again for the spirituous "September Moon," and the ambient and spirited "Until," one of two tracks featuring former member Remi Szyszka. Remi goes out with a bang with the hard-edged "The Belonging Kind," filled with metallic percussion and a catchy bass line. The title track is perhaps the most unique song Psyche have ever produced, with a snapping snare percussion sound, and a slow groove not dissimilar to the kind of jazz music best suited for film-noir or mafia films; it's reminiscent of Nick Cave and Barry Adamson.

Shedding the sound of old almost completely, Darrin and Per-Anders have reinvented the sound of Psyche quite successfully. They've maintained those elements that made their music so appealing in the first place, namely the good songwriting, effective and poetic lyrics and well produced music. By taking these elements and giving emphasis to the shadowy atmospheres, Psyche presents a newer, more grave façade. While the music and lyrics are somber, there is a strange vitality to the sound, as if the band feels some rejuvenation in their new depression. Darrin sings as passionately as ever, and the songs are sure to stay in your mind. Goth music is nothing new, but to do it well requires a good deal of intelligence and musical chops. Psyche certainly fit the bill and make The 11^th Hour an album that can best be described as new electro-goth. While fans of their older material may be disappointed at the sparseness of danceable beats, they may find comfort in the songs themselves as works of music and poetry. Isn't that what makes Psyche so good anyway?