Alphaville - Strange Attractor

At first, I have to warn you: I am fan of this band. But more for their musical evolution, their creativity and the wealth of their compositions, especially in the 90’s, than for their two or three world hits so-called "new wave" of the 80’s.
Because this band, who celebrated their 30th anniversary in 2014 at Divan du Monde in Paris, had many dimensions all along their career.

If this 2017 release has the good idea to more or less free itself from the eurodance rhythms (ever-present in the previous one, the disappointing Catching Rays on Giant, 2010), it still sounds closer to the pieces of the box set Crazyshow (2003) than to Prostitute album (1994), this one remaining their peak in my view.
The line-up of the band changed several times. The singer and leader Marian Gold stayed, but the band lost a bit of their sound identity with Bernhard Lloyd’s departure in 2003.

Apart from the usual synths, you can notice all along the album a clear presence of guitars: the acoustic one of the discreet David Goodes (for instance in "Giants", a rather cool way in), the electric one of Ruszczynski. Since "Romeos" in olden days, now on "Marionettes With Halos" and "Nevermore", his appearances for saturated rock solos are always a (good) surprise!

Almost a compulsory figure since the hit "Forever Young", the lyrical slow dance is here one more time with "Around the Universe", which Marian’s majestic voice perfectly hugs. Hmm... a little too syrupy for me. I prefer when it’s punchier or more inventive.
Such as "Rendezvoyeur", with its finger clicking and its brawl ending – even though joining the two French words 'rendez-vous' and 'voyeur' probably seems less deliciously exotic to native speakers than to Marian. By the way, note that he’s the author of all the lyrics. Knowing the person a little, be sure they will be imaginative, oneiric, inflamed, tortuous sometimes, but simplistic never.
Such as "Nevermore", its intro gimmick, its stacked sounds and loops à la Garbage, its haunted lyrics, its chanted chorus which reminds me of "Gravitation Breakdown". Huge.
Speaking of chanted chorus precisely, here comes "Heartbreak City", after a surprising verse (all with head voice), and before a short bass guitar break. This is Alphaville, the good kind that stays in your head. In the end quite representative of the album, this single is a fine combination of change and continuity.

I’ll drop tracks I find average, or less interesting, or already heard, or that just don’t touch me, like "House of Ghosts", "Fever!" and "Sexyland". But maybe they will touch you?

The nocturnal sleeve is sumptuous. I don’t know who got the idea of this 5-pointed star, but it’s a bright idea! It should be noted that the highlighted faces are the ones of the current stage crew. Inevitable thought to Martin Lister, who was in the heart of the project (he co-composed half the tracks) until his death, after having embodied Alphaville keyboards during fifteen years or so.

Back to the record. I wouldn’t be complete if I didn’t bring up the dubious journey to "Mafia Island", with a great deal of atmosphere and use of Autotune (for once). Its sophisticated vocabulary. Its bewitching backing vocals. And its little repetitive sour melody at the end. A piece that is definitely apart, strange and attractive, "strange attractor" all on its own.
And you’ll end up necessarily with the very floyd-ish indispensable "Beyond the Laughing Sky" who completely overwhelmed me, overcame me. I am fan. But I had warned you.