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Since 2001, Los Angeles-via-Germany electro outfit no:carrier have released two full-length albums to much critical acclaim.  Their sound is so unique, however, it hasn’t been until their current album, Wisdom and Failure, released on Electric Heresy Records,  that the self-proclaimed “Electro Noire” duo have been gaining steam on the popular (though still very indie) market.

“Electro Noire” seems to be a good classification for at least two of no:carrier’s singles off this new album.  “Confession” and “Last Scene” are almost identical in their backing tracks as well as the monotonic timbre of singer Cynthia Wechselberger’s vocals, and thus suggest that they were meant to be twin tracks.  “Confession”  and three other tracks can be streamed exclusively on Ellenwood-EP via the the player above, and the group have released a video for “Last Scene, ” below:

As monotonic as the two tracks are sonically, so is the video for “Last Scene” very monochromatic and grainily shot in black and white.  The band are once again earning their “Electro Noire” tag with this video.  It’s all very close proximity to 80’s goth with a digital twist; think Bauhaus or an even grumpier (if that’s possible) Portishead.

“Confession” and “Last Scene” are pretty indicative of no:carrier’s previous work, but on Wisdom and Failure the two other tracks seem to take a departure into more major keys and popish electro. “The Nine Days’ Queen, ” for example, seems a little more uplifting, nodding vaguely at artists like M83 or Flume.  While still lyrically staunch and severe, (they are still German, after all), Christian Wirsig’s backing track edges towards shoegazer and away from goth electro in a subtle and fun manner.  no:carrier seem to be stretching their creative wings, but they’ll do it in their own time and on their own terms, thank you.

If unfamiliar with no:carrier, fans can stream their back catalog on their SoundCloud page, and the full 12-track album can be downloaded on their BandCamp page, along with news and tour dates.

Written by Layla Marino