Founded as a experimental, Dark Trip Hop project back in 1999, Baltimore, Maryland based Ego Likeness have been on a long journey. Moved by the creative leading heads Steven Archer and Singer Donna Lynch to a darker Electronic/Dance direction, their first and self released full-length album Dragonfly in 2000 is becoming well-known and estimated as one of the bustling, releasing acts in the Gothic scene.
Following the signing of their first record deal with Dancing Ferret Discs, the band developed their sound to a more rocking way combined with dark electronic roots, proved by the second album, Water to the Dead, in 2004. Extensive touring with label mates like The Cruxshadows opened the way to Europe, followed by releasing the third album, The Order of Reptile, two years later, as well as first videos and touring again the US and Europe with Electro Goth acts like Das Ich, In Strict Confidence, or Combichrist, to name just a few. In succession, the two-piece was not less on the go by releasing four “compass”-EP’s consequently called South, West, North, and East between 2007 to 2012, as well as the fourth full-length album, 2010’s Breedless via Metropolis Records.
After these numerous releases and tours, one could ask, “Where did the Ego Likeness protagonists scoop inspiration came from?” Where other artists run out of ideas, keep in mind that Archer also exhibits paintings and sculptures on countless galleries and conventions, and along the way, being author and illustrator of the children’s book Luna Maris, or other graphic novels, while Lynch creates collections of poetry amongst other things. Nonetheless, in Ego Likeness’ field of activities, the Dark Wave duo found time to create and finally release their fifth full-length album, called When The Wolves Return. Facing several personal hard times like fighting sickness, deaths, and personal demons, Lynch and Archer seemed to come to terms with all this since the last release almost five years ago.
As a result, When The Wolves Return sounds lugubrious, and by listening to the first notes of the opening track, “Leave The Light On, Thomas,” one can smell the agony inseminated air of the dark Gothic dance-temples and dancefloor-caves. The well-balanced tragic, layered keyboards, billowing electronica, and heavy guitars make this album Lynch and Archer’s personal legacy, letting the listener participate as best they might. Having said that, Ego Likeness does not reinvent the electronic wheel. For example, “Darkness” may remind some of the sound of a band like Die Krupps created with songs such as “Fatherland,” which in no way is a bad thing. Unintentional, the beginning of the track “En Rouge” sounds like a dark electro-version of Ram Jam’s “Black Betty.“ Thereafter, “New Legion” also is one of these balefulness promising sound collages, but the main keyboard arpeggio is off-the-peg, out of the can, and has been heard often before. This should not mean the songs are boring or bad at all, but they expand past the Electro-Goth genre. Beside this, the song structures among each other seem to be very similar. The exception breaks the rule with the Depeche Mode-like “Persona Non Grata,” which inspires with its catchy hook-line in the chorus. This can also be heard in closing title track “When the Wolves Return,” which is a dark and dramatic piano ballad that pulls the listener down into Ego Likeness depths and sprays movie score atmosphere.
For fans, When The Wolves Return is a much satisfying listen. For all others who want to dive here and there into the dark abyss of melancholy, Ego Likeness could be an alternative to the demanded pseudo-Goth, mass-spectacles. When The Wolves Return sprays honesty and pain which was felt while creating this piece of music, and that should be the perfect soundtrack for bad days. With that said, welcome back Ego Likness. CrypticRock gives this solid album 3.5 out of 5 stars.
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