Any panel of greyest or smoke-blackened new wave's followers will easily acknowledge the intrinsic value, the exact arrangement as well as the talent of this Belgian formation as Der Klinke shows fusionist skills off through a modern sonorous renovation of some almost godforsaken musical buildings, erected by many legendary Belgian predecessors, such as Front 242, The Neon Judgement, Vomito Negro or Poesie Noire, so that they ideally lenghten the so-called Cold Electro Wave, pierced by some plain rhythmical schemes belonging to EBM, which used to flood mainly European underground disco clubs and headphones between the end of the 80ies and the beginning of the 90ies, through a nowadays adaptation. The result is really interesting and could cause some problems to those reviewers obsessed by labelling of genres, especially when the band bridges the above-mentioned marching sounds with more danceable beats. Even if it's not plagiarist, they manage to hit nostalgic hearts, especially in tracks such as Clear Mind (featuring some drum sequences close to those voodoo techno beats by Vomito Negro or 808 State) or Square Moon, but they could also seduce many gas-masked and leather-blended dancers with tracks such as the foggy 3AM, the obscure "matsurized" techno march of Where It Ends (a track where they grabbed the gnashed voice by Gerd Van Geel aka CUVG, singer for the Belgian band The Arch) or those ones featuring the appearance of a former member of Der Klinke, the jazz singer Melissa Vanderville, who flushes her vocal chords for You, The Voice and Surrender. It seems like lyrics speak about personal stories or poetized pages of a diary, but there's some provokative hook here and there - I personally underwrite the one against cultural uniformation promoted by mass media in the song Radio ("The Radio/Is Your companion/towards an empty life...Go to concerts/go to parties/Meet musicians/Buy their records/But never/No never/Download music" , so Chesko Geert Vankerkhof sings about!) - as well as a nicely gloomy sort of lullaby for insomniacs, At Night, at the end of the record, my personal favorite track together with the above-mentioned Where It Ends, the misty-eyed title-track (I'd like to argue it's a love song by unwearing it from any possible esoteric meaning!) and the chronicly prosaic castle In The Dark. Go in for a dip before the (cold) wave ebbs!