Musical revival in modern electric robe.

Spontaneously and without any prior knowledge I came to Olympia by Austra. Actually, just because the printed here Product description and the low price, I decided for this track. Disappointed, I was not with this CD, on the contrary, the group led by the singer Katie Stelmanis delivers class music from here. Very influenced electronically vary the songs between dance and pop, kitsch and Drama and remember many places to pop tunes from the 1980s. The attention to detail and the abundance of small and fine sound gimmicks fascinated already at the first hearing. The album lives in my ears then also by the diverse and fascinating soundscapes, since this is where there are so insanely much to discover. Of course, the voice of Katie Stelmanis fits very well with this music, often slightly tinged celtic and caught up, the song fits perfectly into the synthetic soundscapes, even if sometimes the sung melody seems to sound purely decorative.

When something dark and roaring introduction to the album, the gentle listener is performed only once on the wrong track. Here, what we DONE converts? to a well audible albeit slightly dramatic pop anthem. At the latest at the onset after about 3 minutes Dance Sound then you know where you stand here.

Light floating settled and in a trance area heard the music at FORGIVE ME. The melody is quite simple knit and leaves so much room for the beautiful sound.

A revival of the '80s synth-pop bag of tricks is heard at PAINFUL LIKE. Built almost classic, this pop anthem resonates on the chorus to a real flight of fancy. Good danceable and by a magnificent catchiness, this song should easily fill the dance floors of the nation.

SLEEP is a bit gloomy and worn on electronics. According caught and dramatically then sounds the vocals for this song. Out of this rut ​​the song is then torn almost the first chorus, oblique sound elements and transitions make the change from drama and dance pop an interesting thing.

Piano sounds combined with electronic gadgets are the basic framework for this brilliant dubstep. That the melody of HOME thereby runs in more leisurely pace, seems contradictory only at first glance, is in reality the core of the genius of this song. In places, give Irish violins the song additional Drive.

Even when the sound starts FIRE quiet and somber, but then gets a fairly brisk beat. The highlight here is the mix of xylophone and electronic trance elements. The horny Chorus sounds like Celtic hypothermia, when the voice of the singer is also not exceptional and large, it impresses but by northern cold and beauty.

Reduced and limited to a few elements I DO NOT CARE is the only song that rather focuses on the vocals. But by the brief and the structure of this song appears rather as a small adapter of little importance.

When We Become the music has no longer much to do with dance. Carrier synthpop with a melody that are teeming with catchiness. And because the song gets stuck so fast, he has real catchy qualities. Den I could have well imagined by Kylie. Cool drums in sound fall here on particularly.

Floating sounds out of the trance sound doctrine open RECONCILE. At the same time running a very earthy basic sound with fine brass sounds refined. The melody and the singing run by proven pattern unspectacular during the verses and downright anthemic and flourishing during the chorus.

A mixture of Euro Dance 90s and 80s synthpop brought us ANNIE. Again, awesome inspired by dubstep and provided with a catchy melody, the song completely convincing. Nice.

YOU CHANGED MY LIFE seems to be a kind of modern elegy. The song seems quite self-pitying, accompanied only by a piano, then uses a rumbling sound, which decides the song as an instrumental, strangely gruff then heard the piano. Unusual but fascinating song.

The electric organ determined at HURT ME NOW much of the music. The pop song seems sluggish at times, but also impresses with great sound and tempo changes. If you can find a ballad on the album to some extent, then maybe this song here.

From Austra I feel fascinated restored to a bygone musical world that is barely present in the media today. At the same time the songs sound modern and bubbly, artificial and synthetic music can be in 2013 or any other technical means serve as example in the 1980s. Here are the latest technology in any case benefits for musicians, it seems, however, to go backwards in the packaging of CDs. Sadly Standard in 2013 is as a silly cardboard cover. At least one has settled a decent booklet in the form of a large leaflet. One side shows a poster of the band, on the other hand, all lyrics and references are printed. Decorated in blue packaging design affects me also quite appealing. For me, a musical discovery that has paid off. We can only hope that this album is not simply goes in public, it would be really a pity.