Grijs

by Electropoëzie

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about

In the year 1995, Windows released their flagship operating system – appropriately called Windows 95. Probably most millennials remember the sweet sound of Brian Eno’s stacked harmonious major chords when entering cyberspace on your buzzing and humming personal computer. After five minutes the screensaver finally shows and on your desktop you’d find – hidden in the menu – everyone’s favorite shitty pinball game. I’m pretty sure those happy moments of playing the silliest of games were the best of times – especially when waiting for your love to arrive on MSN messenger.

Of course, we are not here to delve in the bittersweet despair of our long-lost youths, but the resemblance is uncanny: listening to Electropoëzie’s second album makes you sink deeper in the soothing sound of melancholy than ever before – it’s like re-listening to Eno’s gratifying W95 welcome over and over again. Grijs often just kicks the unwary listener right in the f*cking feels, and all we want is to repeat that soft shock of never being young again – losing touch of all that once made us innocent; a sound of simple poetry and visions of a past that never really was!

Just like their debut, our favorite (a-)comic duo offers a warm blanket of synthesized computer signals, accompanied by bella voci proclaiming the truths of poetry. The Ridderbaas – Electropoëzie’s producer and musical mastermind – offers the listener a broader scope of his musical talents than before, doubtless displaying the fruits of touring this project the previous year. Hans Oeverloo once again delivers the lyrical with a wide range of themes – hopping from a descriptive stanza about a murder to an almost Baptist psycho-analysis of pretense a sich. The "Johnny and Jones"-style 1930s pronunciation that is often found in the choruses still have that soothing Algemeen Beschaafd Nederlands we at Smikkelbaard love – giving rise to a new Bonio-esque sing-along quality for all the Slayers out there.

In contrast with their previous work, Grijs offers a far subtler approach to reminiscing about times past, offering insight into the group’s thoughts and prayers about today’s wondrous [sic] civilization. The sound has changed a wee bit; towards a more observant, continuing idea – which makes everything sound like a bird’s eye view of the sounds used. It gives the work some breathing space to contemplate and wonder about the times that have been and the times to come: a monument for the millennial!
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released January 20, 2018

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