Clan Of Xymox
Breaking Point

If you've ever wondered what might come from the union of the dark atmospheres so dear to Andrew Eldritch and his Sisters of Mercy, the electropop of Dave Gahan and company, and a pinch of techno music, you now have the answer: Clan of Xymox.

The Dutch combo has been active on the scene for over two decades and definitely represents the Pioneer of the electronic branch of darkwave. In the eighties, Ronny Moorings' creation enjoyed moderate success, thanks especially to the interest of Ivo Watts and his famous music label 4AD (the same as Dead Can Dance, Cocteau Twins, and Pixies, to name a few).

However, the thing that did not quite allow them to make that leap forward to become a cult band in the field was perhaps the excessive comparison to the sounds, image, and themes of Sisters of Mercy, which earned them criticism from all sides.
However, even if Ronny Moorings undoubtedly draws on Eldritch's dark vocal timbres and his group is clearly influenced by the Gothic rock of the Sisters, the Clan of Xymox conveys a very personal conception of creating darkwave mixed with electronics, far removed from the dancefloor and garish atmospheres of other bands like Alien Sex Fiend, Asp and many others.

Their music, in fact, is a concentrate of melody and despair at the same time, made even more poignant by the absolutely decadent and introspective lyrics. Their latest effort, “Breaking Point,” certainly does not disappoint expectations and presents us with an absolutely fresh and modern sound, but despite this, it is concretely anchored to the sounds of the origins.
The opener “Weak in My Knees,” is one of those fast ones and is definitely the most techno, at 100 “beats” per minute. Moorings' cavernous and touching voice stands out through sonic meanders characterized by synthesizers, guitar riffs, and drum machines.

The other faster tracks, but definitely less techno, are in order: “Be my Friend,” made particularly suggestive by the sampled effects of what seem to be Gregorian chants, “Under the Wire,” with a thrilling finale, and, above all, the concluding “What is Going On,” where the band shows they've fully learned the lesson of Depeche Mode and translated it onto gothic foundations. But, in my opinion, the album reaches its peaks in the slower and melancholic moments, that is, in the very sad melody of “Eternally” and the subsequent “We Never Learn,” and, especially, in the instrumental “Pandora's Box,” chilling and compelling.

In conclusion, a record to listen to when you're feeling down for two reasons. Either to recover and awaken to new life, thanks to the massive dose of energy produced by the more rhythmic songs, or to let yourself be finally abandoned to the charm of sadness created by the darker atmospheres.

The choice is yours.