MIRRORSlightsandofferings

REVIEW IS TAKEN FROM ELECTRICITY-CLUB (Thanx to Chi)

The Science Of Our Love
MIRRORS reflect their surroundings and flaunt their artistic integrity. "We like that whole idea that your art is your life - you are what you make"
says singer James New. Following the philosophy of the Bauhaus movement's founder Walter Gropius, MIRRORS' modernism is a unity of art and
technology. Whilst their aesthetic may point towards KRAFTWERK and their GILBERT & GEORGE inspired sartorial style, the eerily uncomfortable and
gloomy social environment that spawned JOY DIVISION, XTC, THROBBING GRISTLE and PUBLIC IMAGE LIMITED over thirty years ago which also exists
today is just as relevant. Protestations in some quarters that MIRRORS are merely an OMD tribute band are ignorantly lazy and uninformed. As a
contemporary musical act resonating the hopes and fears of rational youth, MIRRORS could appeal as much to followers of WHITE LIES, EDITORS (note
absence of the definite article in all three!) or even THE XX as much as anyone who may have grown up admiring the pioneering sounds of Synth
Britannia.

In a recession, people seek value and that is apparent with Lights and Offerings. This young Brighton quartet consisting of James New (lead vocals
and synths), Ally Young (synths and backing vocals), Tate (synths) and Josef Page (electronic percussion) have quite simply delivered one of the best
debut albums by a British band for many years. Recorded and self produced in a rural Sussex farmhouse before being mixed in New York by Jonathan
Kreinik, Lights and Offerings possesses an intelligent balance between precise technologically driven beats and emotive vintage synthesizer melodies.
This fresh, artful and lively approach permeates throughout this cohesive, seamless body of work.

It all begins with the superb sonic pulsar of Fear Of Drowning. Full of the dramatic overtures of young manhood, it marvellously sets the scene for the
rest of the album. Their debut single Look At Me has been reworked with its original digital drum patterns now replaced by a grittier snap. But its
moody, layered textures keep it wistful and evocative. With a debut album, there is only one chance to make a good first impression so MIRRORS have
done the sensible thing by including all of their acclaimed singles. And none come much better than Into The Heart which is a beautiful slice of
melancholic pop with a glorious soaring chorus to match. Add in its detuned shimmering tones and powerful humanity, it successfully captures the
spirit of prime ORCHESTRAL MANOEUVRES IN THE DARK.
Write Through The Night acts as a steadfast interregnum before leading into the mutant electronic disco of Ways To An End. Driven rhythmically by
two parts TALKING HEADS and one part HUMAN LEAGUE, Ways To An End is the most immediate example of MIRRORS' chilling pop noir. The following Hide
And Seek exposes some endearing soul searching and is almost choir boy like with its lyrically nai"ve but playful intent. James New's altering tonality in
his majestic vocals compliment the discerning harmonious stylings in what is a very English take on modern pop. In fact, he comes over like an electro
friendly MORRISSEY. In that respect, MIRRORS are one of those electronic bands who could break down the barriers of the real music purist, purely
because they write and produce proper songs.

The outstanding Somewhere Strange takes the listener on the most euphoric and roaring trip since NEW ORDER's Temptation. The synthetic assault
simply hypnotises with propulsive blips and cacophonies of percussive noise. After such frenzied action, MIRRORS then reveal an interesting musical
diversion with a haunting cover of a rootsy country number originally recorded by KAREN DALTON and written by the late Dino Valenti of 60's
psychedelic rockers QUICKSILVER MESSENGER SERVICE. Entitled Something On Your Mind, this touching ballad takes the pace down with some tearful
yearning before screeching into the frantically uptempo DEPECHE MODE led synthpop of Searching The Wilderness. With the epic final track Secrets,
its echoing Klingklang octave bass riff is accompanied by an intense percussive march. Almost 11 minutes in length and split into three parts, the
ambient interlude of the second section consists of an aural sculpture that plays with the mind. Fooling the listener into thinking the album has ended,
it suddenly all restarts with a piercing and dynamic military tattoo for the third and final movement.