Punkish doom-pop on this vinyl-only LP from Communions drummer Frederik Lind Köppen, released via Copenhagen’s uber-hip Posh Isolation label. The tracks have some of the ragged austerity of Köppen’s primary outfit while indulging his penchant for icy atmospheres and high-end sonics. Seems almost academic to mention The Jesus & Mary Chain and Joy Division as reference points given what we're used to from this chap. But what the heck, let’s be academic.

Vinyl LP £15.99 PI130

LP on Posh Isolation. Edition of 500 copies.

Sold out.



We’re Falling by White Void
1 review. Write a review for us »
8/10 Robin 19 December 2014

The goth crew at Posh Isolation have described 'We’re Falling’ as “young and unbalanced, heart-throbbing rock music”, and they’re fucking right: they rarely release records as freewheeling as this one. For his new project, Frederik Lind Köppen melds together the totemic lo-fi harbinging of Have a Nice Life circa ‘Deathconsciousness’ with the contemporary-again shoegaze of My Bloody Valentine, creating a sort of transcendent industrial experience that alters the headspace while pummelling it of all its worth. It’s a tactless and ferocious affair, but there’s an emotive quality to ‘We’re Falling’ that feels out of place for a label that is interrogative and stoical in its approach to releasing records. This is music led by the heart.

There’s one constant on ‘You’re Falling’, and it’s lo-fi: Köppen’s sentimental outbursts are stifled by the acoustics of the room, his voice sounding like it’s speaking into a broken intercom. There’s a heavy dosage of feedback, now and then, used to separate one stylistic choice from the next: it cuts up songs that move from gnarly post-punk to irreducible synth pop, such as the change up between “Confessions On Bed Edges” and “Some Days Are Better than Others”. Beyond that, ‘We’re Falling’ is a glorious mess of an album, one that could only be made by the naive of heart and musically obsessed. It’s a shock to find some moments of real lucidity among the squalor, such as “Stillborn Saviour”, which allows Köppen’s gorgeous, tragically fractured vocal melodies to transpire among the fuzz. They transpire subliminally against a huge noise soundscape, like droplets of condensation on a window.

‘We’re Falling’ is hard to follow at times, and its obfuscated production makes it strangely distant, a record in which you can hear the best sounds and melodies, but unclearly and subliminally. It makes you want for more than just this gothic wasteland, but asking for that would be a fool’s errand: Köppen is lost with us.


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