This review was originally published on February 22nd, 2016.
There was hardly a scratch, much less a hair, on Red Mecca’s previous release Covered With Rain as I gave the album a near-perfect score of 9.5 out of 10. Naturally, as I listen to their new album “Electricity” I ask myself, “How do I score an album that beats its predecessor?” The rating you see above marks it as a 10 out of 10 but I do not believe that any score is illustrious enough to highlight the grandeur of this album – and I doubt my words will be able to commit an equal achievement. But I will do my very best to script the album in order for you to understand the beauty of Electricity.
Electricity, though released a few days ago was originally postponed for quality’s sake as founder Jan Strandqvist stated in an interview with A Tune For You; both he and the other half of Red Mecca Frida Madeleine wanted to create the best record they possibly could. And what a wise decision that was; it’s only February but I’m certain that Electricity will be my personal album of the year.
Red Mecca’s music is based around personal life events. This thematic approach starts with ‘Blood on the Streets’, a song that can be viewed as a statement on Europe’s political turmoil to a figurative dance with the devil. I believe it’s also Red Mecca’s intent for the audience to take these songs and interpret them on their own. Witchy yet sublime beats spread through my body and I’m engrossed.
‘Animal’ placates the body and soul with more sweeping spiritual electronics and hypnotizing bits of strung-out guitar work. Madeleine’s gorgeous vocals fly along these healing beats like a peaceful ghost grazing the house they once lived in; if anything, her voice has matured and become more solid. ‘Control’ reels in a more pop sound with lighter intentions; this is a feel-good song, but it does not fail to enrapture with its Siren-like breath.
‘Ritual’ sounds exactly like one in an electronic way; it is riveting, peaceful, and all but bears positive vibes. It serves as a short, intermission track as it only lasts one minute and eighteen seconds, but that does not stop it from being a pleasure. ‘Always There’ comes straight after, and most of the witchy essence present in previous tracks completely dissolves. Instead, we are dealt a delightful blend of 80s pop sounds mixed with Strandqvist’s excellent productions skills. This song also shows off that Madeleine can pull off more than one set of chords; she can shift between eloquent bursts of lyrics and evocative, drawn-out chords like nothing.
I feel as if ‘Ambition’ will appear to industrial fans more than anyone else. This experimental play of sounds switches between a tad bit of EBM during verse, but switches to dreamy deliveries during the chorus. However, ‘Skin’ brings us back into the world of Red Mecca with more dreampop and the song is just brilliant; a catchy beat and Madeleine’s once more beautiful voice guides us through troubled times.
Slowing down the pace and giving a clearer lyrical delivery, ‘The World Through Borrowed Eyes’ is stunning. ‘Hole In The Ground’ has some impressive electronic lines running through it; all the little bits and bobs of the song solidly sealed it together. ‘Hearts’ ends the album as the final track, and leaves off with a bright and sunny day; there may be some things on the Earth that may bring us down, but tomorrow is always another day to make life better. I feel as if ‘Hearts’ gives off this message, and it is poetic.
From mixing to mastering, electronic rhythms to a beautiful voice, Red Mecca has pulled off something that is quite near impossible. Jan Strandqvist and Frida Madeleine are a powerhouse to be reckoned with. They are able to work with one another like two people who have known each other for three lifetimes. The understanding they have for each other’s talents is shocking and awe-inspiring and it all shows on Electricity. Whether you’re looking for music to heal yourself, or for emotional music to cry to like leaning on the shoulder of a close friend, Red Mecca’s Electricity has it all.
