Magnetfisch already exist since 1998, and from a duo, which originally played instrumental music with roots in the 80ies New Wave, they became an outright band after two beautiful albums. Still, they let their roots shine through and do not deny them at all. Thanks to the singer Seline Kunz, the instrumental compositions became full-blown songs with catchy tunes that will find lots of fans amongst aficionados of good old New Wave. Although the music is electronic in its structure, I personally rather see the incisive guitar sounds, which remind me of giants like The Durutti Column, And Also The Trees and The Cure. The congenial voice of Seline Kunz contributes to make botox a very beautiful single, leaving us waiting impatiently for new songs. Unfortunately, such melodic, unobtrusive New Wave is much too rare nowadays.

A few bands succeed in developing themselves and truly taking a step forward. For most, development stops here: experience has been gained, but without real progress. Magnetfisch, who have become a quartet since, are a noticeable exception. In the past they proved expressively that they were able to compose moving, calm and melodious instrumental arrangements. The original duo made of Timothée Barrelet (keyboards, programming) and Patrick Scherrer (guitar) was rejoined by bass player Rolf Althaus and singer Seline Kunz. She eventually gives a charismatic visage to the band’s compositions and completes the instrumentals with a voice which perfectly fits in. In the wide worlds between synth pop and new wave, Magnetfisch have sort of created an own segment by combining guitars and synthesizers in their own way. The lead track, “botox”, is simultaneously buoyant and harmonious and accentuates Seline Kunz’s distinctive voice. In my opinion, “poisonous trace” is the best song of the single, pricking one’s ears with its melodies and by the singing. The change of speed towards the end is impressive, and the voice reminds me Siouxsie Sioux (Siouxsie And The Banshees) at times, with a hint of Marion Küchenmeister (Invisible Limits). "Footloose and Steady" is by no means inferior to its predecessor, with the awe-inspiring bass playing by Rolf Althaus coming to the fore.