Even if the Swiss '“ from Zurich... - band (actually a duo made up of the enchanting femme fatal sometimes turning-into-a-lolita Andrea B '“ you could wonder on the powerful of her voice to sound like an erotic scratch on your skin.. if you like scratches as well! -and the skilled Sky Antinori) classifies itself as an electro band, it's easy to notice some echoes in the visceral structure of their songs from the windy territories of Trip Hop, Nu Wave and the crowded ones of Rock and Pop. Their chamaleontic style covers a wide range of styles in Gravity, their second full-length after their debut-album, Monsterproof, issued three years ago, even it's quite easy to imagine which musical idols Division Kent devotionally adore: for instance you'll recognize some Depeche Mode influences in tracks such as No Kryptonite (... well this album it's about Gravity, the attractive force of big masses on smallest ones and even Superman's not exempt from this force, folks!) , Gravity (how many references buzzing in my head! ... the melodic similarities between these song and The Secret by the Italian electro-cinematic project Gone, inspired by Hitchcock's plot, let me think about the idea of gravity as a metaphor of death in the movie Vertigo... but this track let go to the surface other listening such as Cranes or the Dutch band The Gathering of the How to measure a planet?-era), In The Headlights or Salty (a track which seems to be an hip-hop grime-like blow-piping on some excerpts of Violator... both for the sound treatment and for the song structures while a bizarre disco face is showed in tracks such as Offshore (could you imagine a Suicide Girlie version of Kylie Minogue?), a glamouresque French electro stress in the funny L'Heure Bleue (you could imagine something like a bloody punching round between Fischerspooner, Visage and Royksopp to have an idea of what're going to listen up... ).
The conclusive The Year Of Magical Thinking sounds like a further body of evidence of their affection for David Gahan & C., even if we cannot say Division Kent is a DM clone and the fact that they're a source of inspiration could be easily demonstrated in the 13 remixes collection attached to the regular album in which a plenty of musicians from different angles of the planet (as well as from remarkably different musical perspectives... ) enjoyed discovering and adding different dimensions, which could be appreciated both by clubbers and by listeners close to sound experiments. My favs among them the Booka Shaded "Joe And Will Ask? Remix" of gravity, the punchy boombap Justin Faust remix of Salty, the sun-drenched house tunes of Dunwich Remix of She's Going Places, the 80ies underwater glam Shook Remix of L'Heure Bleue and the tickling of After Midnight one of Pat The Pan Am Pilot. Paraphrasing some of the sleeve-notes of the booklet ("Waiting on a sign/Louder than words/So Likely/To trigger corrosion"), we wait for a sign better showing their musical personality without any recognizable influence. Stop listening for a while Depeche Mode and then throw the door-key of studios, folks!