Simple, minimalistic, and incredibly catchy synth-based pop tunes is what you can find in Demons.
Tunes that never really run out of gas
Simple, minimalistic, and incredibly catchy synth-based pop tunes is what you can find in Demons. There is a major difference between simple and simplistic though, as it may be very easy to discredit minimalistic records as just banal; I always see it the exact opposite way instead, as working with so little makes it so every component of your tunes has to be spot on, as it’s far easier to point out something that feels off when there’s very little to focus on to begin with.
Neon Lies (aka Zagreb, Croatia-based Goran Lautar) very much nails this simplicity, with a foundation that’s more than solid. I’m also always of the opinion that, when you have a musician that knows good fundamentals, like how to make a solid groove or a catchy hook, you’ll never end up being disappointed, as songs will come out good if key components like the ones I just mentioned are, in fact, good. And Neon Lies seems to be checking every box when it comes to crafting good songs: the grooves in the jams are not only tight, but also super memorable, the various synth motifs are what makes the songs pop and stick in your head, and there’s always good structuring and pacing to these tunes, they never really run out of gas—which is also due to how engaging they are to begin with.
Stylistically speaking, there may be some work to be done. This certainly isn’t the most interesting minimal synth record you’ll ever lay your ears on, though it’s not like it needed to be really, it works just as well by being as direct as it is.
The vocals are also not the most enthralling part of this LP, they’re probably the album’s only bland aspect, being the average and really popular style of a monotone and bleak voice. Sometimes this works in the album’s favor, with its slower cuts for example, other times it’d be better not to focus on the vocals. At the same time, they’re never the star of the show, as not only are they rather quiet, but rarely do they try to compete with the synth hooks, ultimately leaving the focus on the instrumentals, so they never hinder the LP excessively.
The lyrics, as uninteresting as they may be, also end up working to the album’s favor: since they’re unintelligible for the most part, the only things you’ll be able to occasionally catch are some scattered words here and there, making some images pop in your head out of nowhere. One example is “Bridges,” in which words like bridges and night stick out, so they don’t tie to much else if not the image they paint in your head. So, again, even if most of the album’s lyrics don’t stick out and are occasionally, dare I say, cheesy, they end up working just fine due to their mysteriousness.
Sparse yet decisive percussion ::
But, enough with generalities, some of these tracks need to be highlighted singularly. Going back to “Bridges,” there’s quite a lot to like here; I really like both the lead motif, which is very much in late ’70s and early ’80s synth-pop fashion, and the big bright chords that come later on, they contrast with the track’s nocturnal lead melody really really well and make it feel grander overall.
The first half of the album is filled with highlights, not just “Bridges;” another one is “Overrun,” easily the catchiest piece of the album. Its punk bassline is definitely my favorite part of the record, it’s so incredibly catchy and establishes a damn fine groove with the really simple drum beat it’s paired with. I also love the use of double kicks, they make some parts of the track more engaging, enhancing what would otherwise remain as a stable groove all the way through. The instrumental second half is my favorite of the two, it leads the song into a nice outro by adding some more synth layers and it overall just leaves more space for that bassline to shine.
The opening track “Hate” is one I had dismissed at first, but as I realized it’s the only one that’s structured to lack any kind of hook I started to like it more and more. I also believe that attribute makes it a rather effective opener, it’s slow and gradual in a way that almost reminds me of some big and epic Depeche Mode tracks when they were in their more theatrical era. The reverb leads me to think that, but so does the sparse yet decisive percussion that amps up the song as it goes.
The second half of the LP is less striking. While the tracks are always engaging, there’s a couple where the vocals do overtake the instrumentals slightly, like in “Demons.” The lack of fresh or new ideas does also hinder the last leg a bit, given that it fails to stick out due to the grooves and hooks simply not being as great as the ones in the first half, so some different approach to song structure could have made these last few tracks more memorable. Still, even here, there’s some highlights, like the slow paced “Kiev,” bringing in a lot of different synth textures and amounting to some satisfying layering.
Even with its noticeable flaws, Demons is a record that surely makes my ears spike up. Whenever you have a musician that knows how to get fundamentals down this damn well, you can rest assured they know how to make good music. While this LP does show a lack of artistic maturity in certain fields, the songs are just so damn catchy and enjoyable they manage to be memorable either way. With some growth and a couple tricks up their sleeve, it’s not hard to see how Neon Lies could very easily come out with a pretty great project, so you might want to keep an ear out.
Demons is available now. [Wave Tension | Diffuse Reality | Doomtown | Cosmic Brood]
