Share This Article
Amidst their illustrious presence in dance music, Âme have been – and seen – a tumultuous evolution in all that surrounds. Genres have splintered and sharpened, melodies reinvented. Yet, Frank and Kristian continue to stay true to their own meticulously individual art form. The pair muse on all that’s been on their new album, “Love Is The Dance”, where they reflect on a multitude of sounds that have shadowed their career for 20 years and counting – presenting a collection of tracks that flicker between different worlds and feelings, whilst harmoniously paying tribute to icons such as Underground Resistance and Compass Point Studios.
Intro “Wasted Time” skydives into a somewhat already known territory, playing with shadows of a haunted melody which seems so familiar. The vibrating vocals of Jens Kuross swirl “boys”, “girls” – soon enough drop kicks into “Don’t Waste My Time”, the single with Trikk. The warbling bass line forms the core, as the melody crescendos amongst Kuross’ vocals. It’s packed with plucky staunch piano chords.
Soft and buttery, the vibration of “Cold” evokes a sensation of future pop, as the synthesised drop-kick baseline is married with the extorted harmony, swirling into Jeannel’s rather glitchy vocals. A somewhat positively-sad love song which gains hope as it continues – packed with a magnitude of fluorescent layers that swish like delicate lapses of water.
Pairing with two close label affiliates Trikk and Henrik Schwarz, yet the output is much more dramatic than the previous rendezvous. Jarring – energetic – chaotic: “Factor It” is a razor- induced number. Filled with a dash of bronze-tinged cowbells and shards of laser beams, guided by robotic churns which pelt the momentum to the vocals.
“Pha Na Pha” is a bustling, hip-shaking number, which brings the charismatic personality of South Africa’s Busiswa to the dance floor. In Xhosa, the title roughly translates into “here and there”: musically, this renders into an unapologetically colourful, vibrant and fun song that moves all around. Just like the song’s inspiration about celebrating life no matter how the day is, the energy of “Pha Na Pha” continues to groove against the thunderous and effervescent melody.
Where Âme meets Meredi, comes sentimentality, in “Water Be My Crown”. The German- Armenian composer and pianist’s presence saturates organic elements in the structure: cello plucks strut to intertwine themselves against gentle sways of electronically luminous whirs, against rattling hi-hats – finding purpose amongst the beat which continues to slip, trip and catch itself.
“Topanga “ is the first non-collab track of the album, and here Âme brings us a slice of their sound we all know and love. Envisioned and brought to life in California, this is a reflective tribute of the 70s hippie and folk refuge. Echoing calm and tranquil memories, where the melody shimmers like flecks of golden sunlight, as the rays roll over into glossy bell chimes.
The familiar and longstanding craftsmanship of Âme and RY X shows there’s always more avenues to be explored together. Here, “Love Is The Dance” delivers the simple, human- centered message in artistic form. A heavy pulsating kick-beat for plenty of dazzling character; as it gathers pace, peppered with air horns – before a slither of high-voltage beams weave between erratic drums kicks, whilst always allowing RY X’s powerful lyrics to keep centre stage.
All things uplifting continue, as Âme pair with another longtime friend in Curses. “Shadow Of Love” is reminiscent of yin and yang – a fusion of Âme’s powerful energy with the unique ‘80s dark sounds of Curses.
“Raw” is a tribute to Compass Point Studios in Nassau as plenty of elements were heralded in this iconic recording studio. From the glistening funk-induced synths, to the dubbed bassline and the edgy sonic movement which flows around. Throughout, Rhye’s voice smoulders and swoons.
“Asa” paints itself as a beautiful tribute to Detroit Techno and Underground Resistance. The hugging bassline continually moves, buried with intricate layers of brash horns that swirl in and out of prominent chords building tension and plenty of daring drama.
The delicate nature of “Of Courage” brings a tender and soft close to “Love Is The Dance”. Piano are paired with Karyyn’s hush vocals. A soft, emotive piece to tone us down to the end, which also provides us with a powerful last message: “stop thinking – just be here”.
