author: Szymon Kozłowski
[translation: Ania Kitowska]
Deer Bearis an explosion-prone chemical substance: she is rooted in synth-pop, he had a history with deathmetal. Back in the 80ies, the members of those two subcultures would chase each other in the streets, holding dangerous tools in their hands. As a result of this synthesis, however, we get a wonderful song, which proves that some things do get lost in nature.
During the 50 minutes it is difficult to catch this duo being manneristic, which could be a result of their previous musical experience. There’s no point looking for pretensious aggression, diaphragm-based singing, overwhelming guitars or exaggerated synthesizers. What we find instead is an intriguing venture, captivating melody and two beautifully matched voices. Complementarity is a word that most perfectly describes the album “House Behind the Eyes”.
It is the first long-play album of the band, which has already achieved substantial success, including two EPs and, cordially enjoyed by the audience, concert at the last year’s SPOT. Festival. Anne Hjort and Lars Bjorn-Hansen label their music as melancholic pop-folk.
“pop-folk, which, with its introspective character and its turn towards the passing time, constitutes an appealing contast to nowadays modernity, which may be perceived as a search of a more traditional understanding of reality and the naturalism of works”
Everything sounds right here: the selection and the management of the sound, the atmosphere of poetic melancholy and permanent seduction of the voices.Even though the duo does not move frantically among the styles, the specialists of classifying will nonetheless be puzzled as to how musically label “Heouse Behind the Eyes”. The album is not based on the everchanging seasonal trends and the musicians are not trying too hard to refer to anyone.
Despite having no potential hits that could turn the musical hitlists around, the whole LP keeps a very high level evenly. It is imposed by the first (and the best) track – “A troubld heart”.
Listening on, we come to a conclusion that the Danes do not care for production fireworks, so fashionable these days. They go for simplicity and austerity, which is ear-catching and brings about charming effects (as the title-song “House Behind the Eyes”).
The musical background is extremely diversifies, yet somehow low-key. Sophisticated sound connects stringed instruments, piano, accordion, acoustic guitar, bells and, finally, banjo (“Sunrise”).
Everything is precisely selected and balanced.
Music, however, is just a part of it. We are being charmed by the voices of the Danish duo permanently. In every second we feel the connection between them, which makes them understand and compliment each other flawlessly (“Like every sun”). They use their souls as a rythm-giver to their journey through sounds and feelings. When it comes to lyrics, we won’t see any empty phrases or cliches.
The album is made to be listened to multipile times. After the second one, the third one and after every other one – it is still very good. Despite being mainly about sadness, I don’t mind listening to it with this company being in that shape.