‘Modernism’ opens with the confidence of a band finding they have nothing to prove: the swagger is muted rather than overt, the sounds are strong, and the tempo is energetic but unrushed. So it is that ‘The Hope And The Enemy’ arrives, with a brief pulse of quiet electronic chatter before an inevitable burst of brassy guitar. The triumphant, inexorably-rising chord progression (used several times in the album) points the way forward and up from the start. It is obvious this band means business – but these are no upstarts. There is an unmistakable breadth of experience behind the towering riffs.
The history of may not be well known outside of Germanophone central Europe. The band emerged in 1990s Austria, fighting for a niche in the alternative scene, pushing to get their voices and music heard. Some high profile support slots and relentless touring helped their success, before they entered a hiatus as vocalist Mik Tanzos turned away to try to build a solo career. Last year the band got together and evidently discovered an untapped seam of creativity which was moulded into ‘Modernism’. The album is the product of prolific writing: 25 songs, which were narrowed to the released 10.
After that determined opening track sets the scene, ‘A String Of Luck’ presents a distinct motif, delivered in fuzzy, 80s-influenced tones. That keeps the song centered and interesting as it progresses. The slightly distorted vocals add further tension to what is already a nervous-sounding palette. In 2026, “modernism” really does feel exactly like this: unsettled, tense and with something unprecedented around every corner. In this landscape, “All I want is a string of luck” is the cry that taps into something very human.
After the more jagged, strident, soul-searching ‘For Myself’, ‘The Aftermath’ hits crisply and with poignancy. This one is a story told in the second person, showing and telling feelings that “you” will inevitably relate to. More humanity shining through.
After that, the biting message of ‘A New Day’s Celebration’, all dark declamations and high drama, feels a little over-delivered. ‘Heads Down’ is more balanced: pressing on with grinding fervour and repeating electric guitar riffs set on a sweeping wide-screen backdrop. The intensity here is monotonous but fits the theme of the modern city-life drain on emotional and mental health. ‘Deadly Serious’ is more balladic, almost soul-inspired with its piano licks and – again – that sense of a rising melody. Perhaps this is the theme which brings a sense of humanity to the record: it feels like the strive and ambition of the people who made this modern age and the ones who have the potential to improve it, too.
The final three tracks are led by ‘Your Truth Or Mine’, a steadily pacing person-to-person dialogue, with a distorted kind of beauty in its melody. ‘Old ways’ presents a dichotomy in both music and lyrics. There’s a triumphant feel to the keyboard-enhanced sound, and yet a minor-key feel. “Why do I always go back to the old ways, but they always go wrong?” sings Tanzos, sounding more relieved than depressed about this discovery.
Finally, ‘Good Night’ is a nicely presented, stripped back and slower number. Zeronic throw in a multitude of sounds here – are they really only a trio? – building a fulsome, engaging goodbye.
As the last notes fade, the feeling left by ‘Modernism’ is of hope in the face of challenges; a faith in the humanity that underlies everything going on in the world, both good and bad; and a reminder of our shared experience.
7/10