SPILL ALBUM REVIEW: FOTOKILLER – EERIE NOSTALGIA

FOTOKILLER
EERIE NOSTALGIA
IT’S ELEVEN RECORDS

Stereotypes kill genres, there’s no argument about that. Over the years, I’m sure we have all heard some ludicrous music stereotypes in regard to location, along the likes of all country folk must only like the rootin’ tootin’ of it all, anyone from New Orleans is all for that swing, and all Italians come alive whenever “Tarantella Napoletana” is in ear-shot. Obviously, none of this is true, and fantastic music from all genres comes from all over the world. However, there’s something about Berlin. Berlin’s chokehold on post-punk revival (specifically darkwave) has become a cultural identifier for the city, and this has led to some fantastic additions to the genre’s vast catalogue.

Fotokiller’s debut release, Eerie Nostalgia, is one to look out for if you are interested in a cohesive listening experience. The album contains great features typical of the darkwave genre but isn’t so far down the pipeline that is intimidating for new listeners.

That being said, despite Eerie Nostalgia’s various strengths, it certainly won’t be the standout darkwave album of the year, but if this is where we are starting, then we are in for an outstanding year.

Nearly every track on the album captures the listener’s attention from the first second and all the songs seamlessly fit together, which is a major hats-off to the band and their producer. Tracks such as “Confidence Killed”, “Dead End”, and “Jaded” are where the band’s musicianship and passion for their work really stand out and are my recommended starting points for the album. “Dead End”, the ninth track on the album has numerous captivating and climatic moments that will continue to lure listeners back to the track again and again.

The album’s first track, “Control”, opens with almost Joy Division-esque guitar riffs and drum pattern, which is an easy hook for fans of darkwave, however the rest of the track simply does not match up to those few opening bars, and in my opinion wasn’t the best choice to have as the album’s opener. The album’s closer, “Echoes”, is a conflicting piece as it leaves the listener not fully satisfied. This effect this has is both exceptionally effective and also damaging to the impression the album will leave on listeners. On one hand, the feeling of fleeting satisfaction encapsulates the impression of the album in one final 3 min and 53 sec standoff, and ties in every element and theme. On the other hand, “Echoes” doesn’t give the listener that important impression they rely on to formulate their final opinion on the album, but perhaps that’s part of the charm.

While Eerie Nostalgia is a well-formulated album and an enjoyable listen, at points the melody in certain songs becomes tedious and lacklustre, and for Fotokiller’s next work, they would greatly benefit from having more variety in their work.

Eerie Nostalgia is a strong debut album from the band, and they are most certainly ones to watch as we progress into the future of post-punk revival darkwave.

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