VNV Nation

VNV Nation has never been content with simply making dance music. Yes, the duo's dense discography is laced with an innate electronic groove, but Ronan Harris and Mark Jackson don't create sounds just to entertain the body. Since banding together in 1994, the pair of London-to-Hamburg transplants has dipped into the sonic pools of industrial, pop and trance. This intriguing, high-minded mesh has even been decorated with the nebulous tag of "futurepop." But the best example of VNV Nation's expansiveness (and occasional excess) comes from its album titles, including Praise the Fallen (1998), Empires (1999), Future­perfect (2002), Judgement (2007) and their seventh and latest, last year's Of Faith, Power and Glory. The cover, with a hooded stone monument set against a darkened sky, looks more like a teaser poster for a medieval blockbuster than the cover of an electronic album. The music lives up to the cover's self-designated pomp, a panoramic portrait of translucent synths, drilling clatter and shockwaves of electronic drums. Harris's vocals loom above all, but never obtrusively; instead, his missives float in, tying mind candy onto melody.

 
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