Anne Clark – Our Darkness

Excellent and very dynamic pressing - The Total Eclipse remix is very accomplished.

this is the original to Gecko - Lunarcity from Technodrome 3!!! Great, heard the riff so many times, liked it so much.

A Most Potent 12" - right up there with Blue Monday. Clark + Harrow should have done more together.

Hear the sample of Genetic- Transmission in this? I do.

The "Hardfloor" remix is an what not now to be simply said... "Doubting all the time. Fearing all the time" - Party music!

Heard this on a Ron Hardy mix "Live at the Music Box 1985". Classic dark New Wave electro

This predates Detroit by 1 year? Say what?? Alleys of your mind or Shari Vari predate this by a good 3 years and this ain't very techno/electro anyways, so I am lost on that comment.

Anyways, the interesting thing about this single is that it sounds like what KLF later based their "What Time is Love" on. KLF later went on to complain to Frank De Wulf about copying their rip off. Talk about hypocrisy.

If there's is an exactly middle way between Synth Pop and Electro, is this one: Anne Clark's "Sleeping In Metropolis" became a standard of both genres. The line of synths are the spine of "Sleeper In Metropolis"'s futuristic aura.
The lyrics are a kind of a warning about one's accommodation in the deepness of his dreams as opposed to the harsh reality that surrounds us. It's about our fight against our insignificance - but we are "confined in the helpless safety of desires and dreams - We fight our insignificance; the harder we fight, the higher the wall(...)".

That hypnotic melody and Anne's lyrical genius is one of those things that has worked for years now. When it came for the remixes in 1997, both camps went in different ways. Hardfloor went for their trademark acidic rerub while playing with the vocals and adding effects to it to enrichen the sound. Ramon & Oliver used their usual snareroll with a repeating vocalline in the breakdown to climax in a spectacular matter. Total Eclipse however kept it psychadelic and went for a dark and fast interpretation with a minimal vocal in favour for using the melody as the main drive while using the bassline to push it near the edge.

Our Darkness (130 BPM) is one of those almost perfect eighties dancefloor singles: easy to mix, danceable, and just a little dark. Anne Clark's spoken word vocal style works well here.

The subtle Razormaid Mix (available elsewhere) tweaks the original to near perfection: just enough to satisfy those who don't like the sax break without annoying fans of the original.