Pink Turns Blue Re-Union
By Marcus Pan
When I received Pink Turns Blues demo recently,
which included tracks from both of their releases including this one,
Re-Union, I thought it was pretty good. In many ways it still might be,
but as Re-Union rolls out of Germany we find ourselves completely
drowning in a relentless barrage of old-school done-it-already goth rock,
misercordian laments that fall right out of the proverbial Book of Known
Rants and Poems and take all of this and, like a taffy pulling machine from
hell, drag out the length of the songs as long as possible.
Pink Turns Blue includes Mic Jogwer (vocals/guitar), Thomas
Elbern (guitar), Brigid Anderson (keyboards) Reini Walter (bass) and Louis
Pavlou (drums). Pink Turns Blue has been said to be the most beautiful
new old band, which means its a new record that should
have come out twenty years ago. They most closely resemble Michael Astons
Gene Loves Jezebel and does so to such a degree that it has me wondering.
The overall sound of Re-Union is dated, lethargic and harkens back to
music weve already put on our havent listened to it in ten
years shelves which we all have. Yet sadly its a 2004 release.
Strangely enough, the taffy pulling analogy holds true when
we listen to Jogwers vocals as well its somewhat English,
but its garbled and warbly, like during the pulling of what should be two
minute tracks into five to eight minute juggernauts he decided to sample some
of the taffy and its making it hard to speak well. Your Master is
Calling opens Re-Union and continues to leave it open and
drafty for almost eight full minutes. I Coldly Stare Out and Walking
On Both Sides remain identical musically to the opener.
Michelle gets interesting though Im
digging the heavy handed drumming and the keyboards are spooky, blasé
but somehow appropriate. S. Day keeps the different rhythm going,
straying away from the serial boorishness of the first three. But it suffers
from a lot of amateurity in its make-up. Keyboards only add to the childish
effect on this one, and Mics Jacksonesque yowls are
not quite right.
Seven Years is a sufferer of the taffy-pulling contest, actually trying
to last that long.
Its on my listening (last night) of If Two Worlds
Kiss that I first thought of the taffy-mouthed analogy to Mics
vocals. The track is called If Two Worlds Kiss as I said but he
could be saying that or a virtual mix of possibilities during the chorus and
its different every time; I swear Ive heard him pronounce that last
chorus word as kiss, kill, kids,
gifs and more. His forced attempts at vibrato, also evident on
Moon, come off like someone reached down his throat and loosened his
vocal chords with a ratchet set. Catholic Sunday makes a stand against
boorishness, but its sheer length once again detracts from its interesting
The overall effect of listening to Pink Turns Blues
Re-Union is that nothing has evolved since the late 70s and early 80s.
Im still twelve years old, Bauhaus is still at the Beggars
Banquet and Siouxsie is still in Hong Kong Garden. We havent
yet enjoyed the effects of electronics for the most part (even though Brigid
plays keys, it doesnt move much beyond whole-note chords) and the Peele
show just came up with a new word gothic to refer to
music. Theres been so much done since then, its time to realize this.
 Michael Aston was interviewed in Legends #99.
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