Contemporary rock music cannot ignore the influence of some milestones from past decades.
From this perspective, 'Desertshore', Nico's first studio attempt without the Velvet Underground, is one of those milestones. An album that makes its gloominess and spectral theatricality its strong point.
An extreme music that, after the astonishment of the first listen due to its atypical melodies, manages to hit straight to the core and rarely lets go. Dark and new wave enthusiasts cannot afford to have 'Desertshore' absent from their discography for the simple fact that, with its chilling melodies and themes always addressed with coldness, it anticipates by a decade the various dark wave bands of the '80s.
It's pointless to analyze the tracks one by one; this record consistently adheres to the same theme: negativity in all its forms. However, standing out among the others is the French ballad "le petit chevalier," a minute of oblivion in a claustrophobic music marked by a child's voice.
Essential album.
Describing this monument is not simple, it is indeed impossible.
"Desertshore" cruelly reveals to you that this is not true, it is your tenuous construction.
Apathetic and calm, this cry gently cradles itself amidst a swirling and gloomy orchestral ensemble dominated by the harmonium and an imperious organ.
In the immobile and icy panorama of infinity, Desertshore is a mere, superb instrument in which Nico... seeks successfully in the impossible endeavor to untangle that very intricate knot that prevents Man from glimpsing the Truth.
A divine and human voice (all too human).
Desertshore is a perfect title, but The Inner Scar would have been perfect too.
The temple of Pöffgen is a psychic construction; the brazier burns eternally.
The High Priestess is surrounded by nothing, the noise of nothingness is deafening.