Waiting in the lonely darkness for a glimmering light of hope, a humble vocal harmony originating from the lips of one Cherrie Anderson finds us amidst the solemn synthesizers of ooberfuse’s new song “Call My Name,” specifically as we hear it in the “Push The Frequency Festival Mix.” The emotion in her voice is unmistakable, her yearning for another soul undeniably strong, and with her melodically conveyed verses, she makes it possible for us to feel everything that she’s feeling in this critical moment. With the help of her partner in crime, multi-instrumentalist Hal St John, she will define Call My Name, and perhaps even ooberfuse’s future, in the five interesting remixes that we’ll hear in this all-new, highly anticipated extended play and music video from the truly incomparable British two-piece.
Too often the cold and robotic demeanor of electronica’s synthetic instrumentation can make it really difficult for an artist to express what they are feeling in their heart without the inclusion of a powerhouse vocalist like Anderson, and yet somehow the very elements that would typically be an obstacle for electropop acts like ooberfuse to manage become a quintessential key to their success in this record. Paul Kennedy’s radio edit of “Call My Name” uses the malleable synth melodies to reflect the ache in our lyrical protagonist’s present relationship, while Hal St John’s remix skews them with some color-soaked guitar parts that give the harmonies a more optimistic feel than what they possess in Patrik Kambo’s radio edit (and especially the super-dark “The Noise” club remix).
Where we start to see what a glowing synthesizer melody can do is in rough cuts like “The Noise” and the multi-angled “Push The Frequency Festival Mix,” where their emotionless drone is forced into a communicative role in the same context that the vocal is. I was definitely not expecting to find anything as intellectual as all of this material irrefutably is in ooberfuse’s new extended play, but following early feedback that I overheard in reference to the guest mixes, I knew that I was going to be in for something special. In some ways they’re planting their flag on the international level here, and more than that, they’re making it clear to their American fans that the future of this genre will more likely lie closer to the shores of Great Britain than it will the United States.
Call My Name is not for everyone, but this cerebrally provocative and prettily polished EP has got a lot more going for it than your average indie mixtape does. Ooberfuse are rewriting the rule book for modern electronica on this record, pressing on minimalist influences more than they ever would have before (i.e. 2017’s “My Lover” and sleeper hit single “Greater Love”), and undisputedly acting like they belong in the most elite class of their genre. I would really love to see an additional set of remixes for “Call My Name” before the summer comes to a conclusion, perhaps made solely for the club scene, but no matter what ooberfuse ultimately decide to do with their subsequent set of studio sessions, I won’t be the only new stan waiting to hear whatever sweet grooves they come up with next.