An utterly fascinating album mimicking 70s/80s early synth styles from a mystery band out on the 20th June.
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Researching bands is normally a doddle but I have drawn a blank over The Sick Man of Europe. We have reached out to them in the hope they will answer some questions (update – They did, see the link at the bottom of the review). In the meantime, the earliest evidence of their existence is a performance in Hackney on June the 7th last year. There are some filmed videos from gigs on YouTube, alongside the videos for the singles. The first proper music release was an extremely decent EP, titled the Moderate Air Quality EP, that was launched on the 12th of February this year. I can’t find an interview anywhere. I know nothing other than that there are three people in the band, two guitarists and the frontman who speaks/sings and fiddles around with various knobs and keys on Korg equipment. It is not quite a Sleep Token level mystery, but it certainly leaves a lot of questions unanswered.
This album has been constructed by a self-imposed set of specific rules and limitations, having a profound impact on the sound of it. There is no low-end bass guitar, minimal effects and no live drums. The only reason we know this much is due to a typewritten note that The Leaf Label received alongside the album in a brown manilla envelope. The influences that the album draws upon all date back to the late 1970s and early 1980s. To my ear Suicide, Bauhaus, Kraftwerk and Joy Division all feel like reference points.
It was lead single ‘Obsolete’, a former Reading Indie Life Single of the Week, that drew us to this project and this album. It is absolutely phenomenal, a juddering intensity from the bassline, like a train ploughing along the tracks. Every synth note is considered and the retro vocals sound fantastic over the top. It is simplistic yet powerful, something you can tap along to but also a track you could dance to, if you wanted. It is a perfect six minutes of music.
Second single ‘Transactional’ follows straight after. The musical palette being the same for each track, it comes down to the subtlety of how that is delivered on each individual song. This one maintains the sense of urgent forward momentum.
The first unheard track is ‘Sanguine.’ With a more generous runtime of nine minutes. it has a luxury of a longer intro lasting nearly two minutes. It is decent but outstays its welcome by a minute or two. Most recent single ‘Profane Not Profound’ follows, the track that most feels like end stage Joy division or early-stage New Order, like ‘Obsolete’ it is a belter of a track. The nagging guitar line sears its way into your brain. “We eat, we bite, we s**t. The modern world makes me sick. Let’s destroy it. Profane not profound.” There is a real tension with modern technology and society throughout this album. “Retire me, make me obsolete.” “It’s the feeling that you’ve seen it before, that you’ve been here before, that you’ve heard it before.”
‘Slow Down, Friend’ is the first of a few that up the John Carpenter vibes, reminding me of his scores for Halloween, Assault on Precinct 13 and Escape From New York. ‘Movement’ picks up the pace again. It is the only instrumental track on the album but manages an enjoyable groove over the propulsive synth undercarriage.
‘Acidity Regulator’ feels a little bit busy, the vocal coming straight in after its absence on the previous track. The breakdown improves it, but the vocals are not as interesting as on other tracks. There are only eight tracks, it definitely leaves you wanting more, though that is much better that than an album that is flabby and indulgent. Final track ‘I’m Alive’ makes for a decent ending.
The key question is does the deliberate structural limitations create a stronger album, or does it weaken it? There is much to enjoy on here and clearly the formatting aided in creating a sound and design to travel within. It is bordering on too restrictive at times and I can see a lot of people being put off by it. If, like me, you are part of the niche that love retro keyboards, synths and that style of music from that period in time you are going to love this album. It doesn’t really sound like anything else I can think of that has come out in the last few years which gives it an intrigue and a freshness despite the retro-nature. I ummmed and arghed about going to see Snapped Ankles at The Facebar a few months back, now I wish I had gone as The Sick Man of Europe were supporting. Watching this performed live should be fascinating and give more of an idea about where this project is headed. Will a second album have rules to confine it or would it sound radically different? An album well worth listening too, but one that leaves a lot of unanswered questions for you to ponder.
Vinyl: https://amzn.to/4k3vnpt
The Sick Man Of Europe Album Launch Show
Reading Indie Life 
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