Damero
Happy In Grey

Like eating cotton candy in the underground maze of Berlin.

This is the first sensation given by this delightful album that is "Happy In Grey," a brilliant fusion of synth-pop and techno made in Germany by B-Pitch Control, the label of the now-famous Ellen Allien, which has been producing higher quality products over time. She, on the other hand, Damero, is rapidly earning her celebrity, and to be honest, she deserves it.

Well, reading her personal history, one might conclude that her life could only go this way: still very young, Marit Posch (her real name) traveled the world studying classical singing, moving between France, Italy, USA, and Germany, where she approached the B-Pitch Control world. There, close ties began with Apparat and Modeselektor, leading to subsequent collaborations.

Already on the first listen, the album fully convinces. "Mope" opens the dance with an initial dark atmosphere that dissipates as soon as her delightful voice intervenes, accompanied by electronic beats quintessentially in Berlin style.
The progression of "Right-Wrong" already makes us enter the heart of the atmosphere that "Happy In Grey" aims to create, a skillful alternation between glitch-pop and an intelligent and tenderly introspective electronic. The collaboration with Apparat in "Passage To Silence" is very successful: the track is perfectly divided into two, with the first part made of beats masterfully wrapped around the singing that grows until reaching a pause where sounds reminiscent of a plucked and distorted guitar come in, followed by an overlap of voices that open the doors to a much more melodic and celestial second part.

The album proceeds with atmospheres that inevitably recall the Postal Service (obvious in "Gestern Morgen") and Barbara Morgenstern, but often also Notwist, and partly the Lali Puna of Faking The Books ("Sweet Thunderheads").
If "Okay Okay" displays its Intelligent Dance Music character, with distinctly 80s sounds reminiscent of The Hacker, "Things Gone" is a pure product of B-pitch production with a sung part that only finds space in a pause between a 4/4 kick drum and sounds purely for the dancefloor.

One gets lost in the extended times of "Capricorn Saltick" born from the collaboration with Zander VT and in the sweetness of "I Made a Home" which is entrusted with the closure, with acoustic guitars and string parts that can only leave us with a great memory of an album that deserves it.

Recommended purchase.

And maybe even on vinyl.