Changes seem to be inevitable with Covenant. With their first two records, Dreams Of A Cryotank and Sequencer, the electronically devised music was dark and protruding. Europa, however, swayed a bit from their roots and incorporated lighter bits, even to the extent of a whole song. This, however, has turned the tables; instead of a heavier, harsh sound, a new melodic and lighter tone has been approached for United States Of Mind. Covenant also changed labels, from Memento Materia to SubSpace records in Europe, and from a defunct 21st Circuitry to the famous Metropolis Records in the United States. Covenant also spawned yet another EMB/futurepop hit, infecting clubs with ‘Dead Stars’, a good example for the textures and attitude on 2000’s United States Of Mind.
Yet this record is much more than to compare it to just one song. From detached and sad (Helicopter or Still Life) to fresh and a bit sexual (Afterhours), the various moods and themes of each song are always a surprise from the one before, and stretch a variety of ways. Indeed, what a way to turn your band around. This is Covenant’s fourth album, after three which had much critical accliam, and United States Of Mind shows exactly that. Except this one is more organic, has much more atmospheres (and atmospheres with different moods and auras), and sounds a lot more like a band who is so comfortable with what they are doing they can do whatever they want and it will sound good.
And heres why: mongst all the different feelings and emotions flying around, every single song on this album is great. They all have something good to offer, something everyone will like, and only a few songs on here need ‘touch ups’, if you will. Even One World One Sky, the weakest track on the album, saves itself because of great use of ambient sounds and the way it was written (catchy). Dry, scathing and abrasive noises that were so prominent on previous albums is toned down to the extreme, only making
guest appearences on two songs. As I said, the tables have turned. Bubbly beats that were used sparsley back when are now used in many songs on this album, and create a wide tone when applied.
All of this, and Covenant have intensified. How is a very good question for someone who is new to this, but once you have heard all Covenant’s past three LP’s, you’ll know that a lot of things are the answer. One is that the layers of music and sound has multiplied and have been amplified. More things going on demands more attention and energy from the listener, but the more you scrutinize, the more rewarding it is. Another thing is the emotional drainage on the ‘dark’ songs. While listening to Still Life, great chasms begin to form in your gut, and a great abyssmal hole will replace what was once your heart by the end. By combining a stripped down sound with an unnerving depressive mood, it has the unmistakeable effect of being heartbroken. And it doesn’t help with Eskil drawling on subjects that don’t make much sense, but all the same, how he executes his lines and melodies in such a dejected and downcast way its more than enough to top the song off. And the last, most important matter of Covenant’s intensification is Eskil, as clued just before. This is hardly the same man back in 1993, with great improvement even from Europa. Sounding downright gothic at times, huge, immortal and dark, he knows how to draw the most from his lungs. Still pretty much the front of the band, his improvement certainly helps the rest of the album. Like the music, Eskil has gotten more natural and organic, listen to any song and prove me wrong, for he examplifies his growth in every song.
And while every song has distinct qualities that make them so, some rise above the rest. Humility, like Still Life, is stripped down and raw, glum and moody. Tour De Force is as it’s name implies: a gigantic, powerful track that has an uplifting chourus complete with hooks and an attractive melody to instantly fall in love with United States Of Mind’s last track. No Man’s Land is not as gloomy as Still Life or Humility, but it has a moving touch and invokes a sense of meaning within the track. Yet on the other hand, Afterhours brings out a dark, sexually gratifying side of Covenant, with electronically simulated near-jazz sounds.
United States Of Mind is a one of a kind record, becoming more and more great with every listen. What I described and said in this review could be looked at as a nutshell; you need to experience this album to know what it’s like. With their fourth full length, Covenant could have released their fifth five years later; with all the moods amok, the state of all the little details etched throughout, and the overall replay value, and people would still be soaking up this record, hailing the band and their ingenuity.
