DieSeele


The darkpop / dreampop duo, Box And The Twins, consist of members Box von Dü (voices, guitar) and Mike Reichel (guitar, bass) and are from Cologne Germany. After releasing their debut album "Everywhere I Go Is Silence" in 2016 they made a name for themselves and toured around Europe and America with Hante. Now they are back with their sophomore album "Zerfall" that contains 10 songs of “Pain and Boredom”. Released on the French label Synth Religion, on October 31st, 2019.

The opener "Shadows" continues in the same vein as their first album, a hypnotic track, with deep bass and melancholic guitars, that build a moody atmosphere together with Box’s voice. Next up is the melodic track "The First Dream" that first appeared with a kaleidoscope video prior to the album’s release. It has a synth bass intro, layers of atmospheric guitars and a nice synth line that enhances the sweet melancholy feel of the chorus. On "Dein Herz Schlägt Noch" that follows, Box sings in German. Here they sound a bit like Lebanon Hanover, a band they have played live together, sounding very much like the ice-cold music of an alienated world made by them.

On "Lovesong For A Ghost" the mood changes and lightens up, being the ethereal pop moment of the album. The return to their familiar style with "Ashes" and "Frozen In Time" before we get the darker "No Hope" with its dark electronics and ritualistic mood. With "Lovesong For A Boy" the mood shifts to more positive mood again. Then with "Zerfall", meaning decay in German, we have a lovely track worthy of being the album’s title track. The album closes with "Salt", an atmospheric track dominated only my Box’s vocals and layers of airy guitars.

In general, "Zerfall" is more upbeat than its predecessor that was denser and bleaker. With this album, apart from the great production, their songwriting and has matured and evolved proving that they have mastered their art. The same can be said for Box’s voice that sounds more worked and using a broader pallet of her vocal cords.


Review by Nick Drivas

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