Release Date:  October 25th, 1999

Recorded:  August – September 1999

Genre:  Futurepop, EBM

Record Label:  Dependent / Metropolis

Duration:  50:58

Producer:  VNV Nation

[expand title=”Personnel” trigpos=”above” tag=”h22″](Regular band members in bold.)

• Ronan Harris – vocals, synthesizer
• Mark Jackson – percussion, synthesizer
• Paul Barton – engineer [/expand]

[expand title=”Track Listing” trigpos=”above” tag=”h22″]

1. Firstlight
2. Kingdom
3. Rubicon
4. Saviour
5. Fragments
6. Distant (Rubicon II)
7. Standing
8. Legion
9. Darkangel
10. Arclight [/expand]

[expand title=”Singles” trigpos=”above” tag=”h22″]

1. Darkangel – June 28th, 1999
2. Standing – April 3rd, 2000 [/expand]

Why Empires is One of My Favorites

Futurepop, as an offshoot of electro-industrial, was a genre I began to dabble in as it made minor headway with US audiences in the very late 90’s and early 2000’s.  In fact, I went through a substantial period just after my Placebo binge where I listened to futurepop bands almost exclusively, including the likes of Apoptygma Berzerk, Covenant, And One, Assemblage 23, and others.  “Techno” can be a scary word for your average music listener, and tends to be a catch all for anything that relies on electronic instrumentation in much the same way that all music with a guitar is labeled “rock.”  It’s an oversimplification, and people are quick to dismiss “techno” or any other term that suggests something similar.

The truth is that before Empires and albums like it, I was the same way.  A few “beeps” and “clicks” and it was “techno” and I didn’t listen to that sort of music.  And in some ways the stereotype is well-founded, because it isn’t that hard to find exceedingly generic sounding “techno” out there.  Fortunately, the technology to produce music like this has gotten cheaper and more advanced, allowing a whole new type of talent to shine.  Europe’s mainstream is arguably more accepting when it comes to music that doesn’t follow a strict pop formula, and as such, electronic music is one of several styles that has flourished and seen airplay.  Exposure drives evolution, and if look just under the surface, you can find a whole slew of electronic sub-genres and sub-sub-genres.  Futurepop is generally seen as an offshoot of industrial rather than more strictly oriented dance genres, albeit in a much more accessible form.

If one listens to VNV Nation’s catalog chronologically, it’s not difficult to see them progress from something that sounds a lot like electro-industrial to something a little cleaner and more pop-oriented.  Futureperfect is probably a more apt representation of futurepop, though Empires retains noticeable industrial influences even if it’s clearly something of a different animal.  Much of the melodious synth that would find its way onto Futureperfect makes its debut here, though the darker and murkier percussion from the previous Praise the Fallen is still present.  As such, Empires stands as a great sampling of VNV’s earlier career and an acceptable bridge between proper industrial and proper futurepop.  “EBM” is a pretty good catch all term, though it tends to describe music of wildly different styles.

Empires ultimately presents an awesome combination of melody, pounding rhythms, and socially conscious lyrics that speak to concepts like national pride, world peace, and human unity.  Whenever I listen to Empires, particularly all the way through or at least a large stretch thereof, I feel like these guys have been through some great war in the future and suffered unspeakable tragedy and hardship (“Kingdom,” “Standing”).  But despite their pain, there’s an overt hopefulness and optimism regarding the construction of a new and better world.  There’s a subtle militaristic quality to the music, in everything from tense buildups, march-like drums, and even words like the album’s title and the song “Kingdom” among others.

The “hope” and “optimism” I mentioned shouldn’t be translated into “cheesy.”  Empires has its share of darker moments (“Fragments,” “Rubicon,” “Distant”), but it typically resolves itself with a positive vision of the future.  I think one thing that I find refreshing about VNV’s music is that they’re not only talking about real concepts much bigger than a bad breakup or new love, but that they’re also providing something uplifting and empowering.  I listen to this stuff and I think, “boy, what a great world these guys have planned out for us.”  The music, the delivery, the lyrics, the whole package is very disciplined and dignified.

Harris’ vocals have much to do with the vibe that Empires gives off.  For the most part, they’re clean and clear against all manner of electronic effects and artificial music, which makes for an unexpectedly pleasant contrast.  The last thing one expects to hear amid multiple layers of sounds and beats is a normal voice shining through.  It goes a long way in terms of humanizing the music and making it feel like much more than computer output.  Harris continually exudes strength, confidence, and pride in his delivery, contributing to the noble quality of the record.

Wow, it’s amazing how much stuff comes to mind before I even start thinking about the music itself, which is what got me interested in Empires to begin with!  I wouldn’t quite call Empires a collection of “poppy” tracks, though most tracks feature catchy beats and irresistible synth-driven melodies.  Songs on the album tend to fall into one of two camps: bass heavy and beat driven versus atmospheric and textured.  However, Harris manages to work in catchy choruses on songs of both types.

Bassier tracks tend to make use of many familiar electronic buzzes, pops, blips, and other expected synth sounds (“Rubicon,” “Legion,” “Saviour,” “Fragments”).  What makes them special is the precision with which these sounds are implemented and the strong grasp that these guys have on music theory.  Several contrapuntal layers and interwoven into these tracks.  The basic percussion is often simple and serves to give the tracks a steady pace (very much like a march as I mentioned earlier) while one or two deeper effects carries the bassline and supplies the “catchiness.”  Harris’ voice provides the main melody, usually with an accompanying piece of mid-range synth augmenting the song’s chord structure.  Riding in the upper registers are typically some sort of additional rhythmic element alongside intermittent sound effects from simple beeps and pops harsh blasts of noise.  It’s all so expertly crafted that the individual elements are discernible, but only if you really try to pick out each piece.  Otherwise it flows seamlessly and maintains a coherence that mediocre electronic musicians have a tough time finding.

Other tracks focus less on rhythm and more on atmosphere, using effects like sweeping choral vocals and string arrangements to create moody, dreamy soundscapes.  Many of these feature unconventional percussion (“Arclight”) and accentuate how delicately synth can be used.  Instead of multiple tracks layered upon each other, these songs have different “pieces” and motifs that disappear and reappear throughout.  These cuts also tend to focus a little more on conventional song structure, such as “Darkangel” and “Standing.”

Each and every one of these tracks is worth a listen; it was really the first time it hit me that electronic music didn’t always have to sound the same, and also that it could be more than a few catchy seconds repeated over and over again.  Most tracks have words, tunes, verses, and choruses just like other “regular” songs, they just use sounds generated by synthesizers in lieu of guitars or traditional drums.  Even the ones that don’t are far from boring, and Empires showed me that this sort of music could be just as diverse as any genre of rock or metal, perhaps even moreso.  I also admire that what’s been done on this album is completely original.  It’s not an example of sampling, which can be inherently limiting, it’s just music made from an electronic source.  Often times I think these two facets are wrongly conflated with each other, and while I don’t have a grudge against sampling in general, I do enjoy hearing what VNV Nation is able to do by having complete control of the material.

VNV Nation has put out a lot of great music over the years, though Empires and Futureperfect are my favorites.  The trouble is picking a favorite between these two, but both are amazing in their own slightly different ways.  I know that Empires’ “artificial” nature won’t be to everyone’s liking, but for anyone who’s ever liked the idea of electronically-driven music but always found the execution less than satisfying, Empires is a great place to start widening one’s horizons.

Written by The Cubist

Other albums from VNV Nation in this series:

• 2002 – Futureperfect – Issue #58-G

Back to The Cubist’s 90’s Albums