There are relatively young projects that seem to be exposed to adulterated physical laws in which the perception of time varies with respect to the rest, projects that from their first launches are close to us, and that cause us an erroneous impression of their existence, give the impression that they have been there all their lives.
Years of Denial fits perfectly into the parameters of a project that denotes a much longer trajectory than it possesses. His solidity and his ability to work with various genres, and always maintain a sound and a style of his own, are his great virtues and his best tool to alter that temporal reality.
The discography of Years of Denial is not particularly extensive, most of its musical heritage can only be heard in its performances, but after three years, this artistic couple formed by Jerome Tcherneyan and Barkosina Hanusova, releases ‘Suicide Disco’, debut album signed on the Italian label Veyl, another great project that has only been active since last year.
‘Suicide Disco’ is a work elaborated outside the hustle and bustle of big cities, from the solitude and serenity of nature. ‘Endurance’ is the track that opens this album, prologue that warns of the character of the reference with the imposing voice of Barkosina, the strong presence of the bass and the repeated tonal modulations. After two minutes of introduction comes directly ‘Human You Scare Me’, a track dominated by an intense bass loop and a vocal discourse that submerge you in a restless and apprehensive state. ‘In Pain I Mediate’ is the third and last cut of the A-side, a track with a synthetic sound personality, with a more aggressive and corrosive treatment in the percussive part, degraded textures and acid lines.
‘I’m Still a Pill’ opens B-side with one more pressure point. The surprise of this track is its sudden evolution, since in the first bars, both the arpeggio and the percussion do not infringe force until unexpectedly erupts an big power in the lower frequencies. ‘NOW-HERE’ totally changes the previous panorama, here the intensity is transferred to the drums, to the minor chords, to the vowels and to the depth of the pads. ‘Contradiction’ closes the B-side and gives the listener a respite from the rhythmic energy, but adds it even more to a gloomy nature with a sinister chord, hesitant noises and inverted voices.
‘Face to Face’ opens the C-side with a powerful punch, both for the forcefulness of the kick and for the robustness of the superimposed textures. ‘Graveyards’ is the second track on this side, and as its name indicates there is a gloomy aura throughout its journey thanks to its marked industrial character and its harmonic development.
‘Burning Sun’ is the first cut of the D-side and continues with the same darkwave style of organic percussion and huge musical lines that accompany Barkosina’s vocals, but Burning Sun’s constant punching rhythm gives way to the syncopated metric of ‘You Like it when it Hurts’, the second cut of this last side of the album that besides varying in rhythm, introduces sharper elements such as an inalterable synth line. ‘After She Left’ is the eleventh and last track of Suicide Disco, an outro that revalidates the sinister personality of this album.
Release date: November 4th, 2019.