Deep down, we’d all like to know what happens when talent show contestants go that extra mile by making an offering to Satan. And now we can find out. Nicole Sabouné’s new album, Miman, takes a poppy approach to gothic and doom metal. The instruments accompanying her lucid voice are both sober and haunting. Great stuff for all you Ulver and Chelsea Wolfe fans.
8/10 Robin Staff review, 11 January 2017
Gothic doom pop with industrial beats, sweeping synths and a vocal performance as heavy as Leeds’ current onslaught of wind. Sounds better listening to this than falling over in that. Nicole Sabouné monolithic performance on this record harkens back to recent purveyors of great ominous pop like Azar Swan, while her vocal reaches for the same shaking triumphs as Bjork -- it’s what some like to term a tour de force, maxing out each of its elements in a crystalline production that lets it all soar.
I must forewarn: this is big music. “Right Track” poses acoustic strums amidst trembling spaghetti Western patterns, a huge drumbeat, devastated (but squeaking!) synths and call-and-response vocals. It’s vampiric and predicts much doom -- or rather, it stands at the highest point of the city and preaches it. If you don’t want to hear someone doing the version of their song where they pour their heart out, look away - the climax is preordained.
Sabouné’s huge, horror-filled soundscapes are matched with a voice that omnisciently watches over them. “Under Stars (for the Lovers)” sees her impose her fearless but trembling vocal over a droning figure that slowly introduces a piercing beat. Her control over the piece is mighty, while she’s also able to somehow match the production of “Rip This World”, whose arrangement sounds like Blanck Mass meeting Kate Bush at a post-punk party, with an indelible melody that swims between verse and chorus. Big music is only big when it coheres, and this record does. It earns its stripes as a behemoth.
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- Miman by Nicole Sabouné
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