The dismay, the pessimism, the angst and the uncertainty of the darkened eye Korg MS20 statues of some thirty years ago pours forth with Dolina.
[Purchase] Dolina have been skirting around the minimal synth scene for a few years now. After two appearances on Enfant Terrible last year Dolina featured on La Forme Lente’s Circuit D’Actes. Now this Franco-Belgian trio have just released their debut LP, Dolina, on Germany’s Treue um Treue. The German imprint has lain quite low in terms of minimal synth popularity, but don’t let this fool you; there are some choice cuts on this label of over ten years. From synth pop, new beat, wave and even acid, Treue um Treue, with its medley of sublabels, is a formidable set up. But back to Dolina and their new offering.
The brief instrumental “Overture” switches on the machinery with militaristic beats and sinister undertones. From the start it’s pretty clear that this isn’t going to be a friendly smiling piece of synth pop, but a darker more minimal incarnation of the sound. “Fear” marks chilly synthlines and brusque beats shadowed by sombre female vocals en francaise. The group have a sound similar to modern synth pop outfits like Sixth June but their analogue sounds are tethered to the cold wave shrugs of Autumn or Trisomie 21. “Le Monde Extérieur” comes from the juxtaposing side of minimal synth, lyrics moored in despair and desperation whilst arpeggiattors skip and dance in a almost gleeful display. Arches of soaring sound are anchored by vocals for “Sorrow,” with crisp drum beats running throughout. The rolling chords of “Sun Backward” open the flipside. The arpeggiator key is reminiscent of Jamie Principle’s “Your Love” but pitched back and given the Belgian wave treatment. The elation of the synth-lines are once more kept in check by the moribund depth of the vocals. “All of Me” is unapologetic darkness. Male vocals enter to reflect the eclipse, as the clouds gather over the LP. “Shall We?” continues down the same path, the audio silhouette gaining a menacing visage against the primeval repetitive chant. The cheerily titled “Hanging Song” leads the record out. The track has a peculiar waltzing quality to it, the listener being sidestepped through a deserted dancehall by an accordion player and lamenting duo.
Dolina definitely have a European synth sound. It is not just the machines they use, or the sounds they pick, it is embedded in their style. The vocals are dark and earthy, with vocoders being shied away from in place of the real live larynx. Despite their cold wave take, guitars do no wander into this electronic realm. There is something of a contemporary commentary locked into groups who choose to emulate the synth sound of the 80’s. The dismay, the pessimism, the angst and the uncertainty of the darkened eye Korg MS20 statues of some thirty years ago pours forth with Dolina. A guttural rejection runs along a dual carriageway of lyrics and LinnDrum. Lonesome and alluring, this trio have created the opposites of attraction caught in minimal synth; a frustrated acceptance of the cards dealt.
Dolina is out now on Treue Um Treue. [Purchase]
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