I’ll start by saving some of you some time (and the Lash Out feature a lot of work) by announcing right up front that you have entered a non-metal area. Not only are Olen’k not metal, they aren’t even remotely heavy. At least sonically speaking--mood on the other hand, is a whole different story. So why are we bothering to review this album at MetalReview? Two reasons, and they’re both good ones. First, Cold Meat Industry, home to several dark, not-quite-metal and not-at-all-metal bands, was kind enough to send us a review copy, which we appreciate. Secondly, Silently Noisy is a damn fine album, and although it may be outside the realm of normalcy for many readers, I am glad to be able to steer those with an ear for the unusual toward such a uniquely satisfying listen.

Silently Noisy is the full length debut from France’s Olen’k. I was entirely nonplussed as the album began, and I expected this to be a pedantic exercise in goth. However, it became clear quite soon that although the band has goth tendencies, they don’t fit cleanly into that genre or any other. Olen’k have a strong ‘80s wave sound--not that “Frankie Say Relax” dance party kind of thing, but the downcast eyed, sad even when upbeat vibe of bands like Siouxie and the Banshees. Add to that some Dead Can Dance and more contemporary influences like PJ Harvey and the quirky instrumentation of Bjork, and some trip-pop and world elements, and one can begin to grasp the strange mix of styles of which this album is comprised. I really like the way the combined dynamics of the female vocalists and traditional and electronic instrumentation work together to paint a pensive but dream-like melancholic and darkly romantic mood. Several of the songs are highly reminiscent of PJ Harvey, who is for my money on the short list of the most talented and consistent artists of the last two decades. The best of these are “The Bar”, a quietly seductive song consisting of vocals and understated guitar, and “She’s Dead”, a dark and emotional song that balances subtle electronica with muted guitar strumming and echoing heavy percussion in the style of The Cure’s magnificent Pornography. The song is followed with the severe contrast of “Ego”, a much more contemporary sounding song with a peculiar but highly effective sample hook and Curve-like, almost club feel. “Insomnia” has a rhythmic, international trip-pop glow. The closing track “Silencio” begins with an extended introduction of spiritual sounding choral vocals. Instrumentation joins, but the vocals take center stage throughout the song. It is rare that a band does such equally good work on both the music and vocal fronts. The vocals on this album are alternately delicate and powerful and are simply gorgeous.

Although the band pulls from influences and styles both new and twenty years old and combines them in a mixture of genre splitting songs, Olen'k do well to keep Silently Noisy a coherent and focused album. This is a talented bunch, and one to watch, as a debut such as this is highly impressive. Quite obviously many metal fans will pass this one by, but if your tastes are diverse enough that you followed the band comparisons made throughout the review, Silently Noisy is an album that may surprise you.