For two decades now, the dynamic duo of Steven Archer and Donna Lynch have put out their blend of darkwave, industrial, and gothic rock under the banner of Ego Likeness. Following up on their demo Songs from a Dead City the previous year, 2000’s Dragonfly marked the act’s proper debut, under their own Angelfall label. For its twentieth trip ‘round the sun, Metropolis Records have reissued the album, and what a time to do so. In this era of DIY and carving one’s own path, Ego Likeness are a testament to that demeanor, and Dragonfly shows that it cannot only be done, but done well.
“A Different Kind of Loss” features a sample from the David Cronenberg classic Dead Ringers, before the music starts in proper with “Hydra.” The tone that the drums have here is nerdout-worthy, even though there isn’t a snare to be heard in the main drive, save for the intermittent rolls throughout. Lynch’s operatic vocals tip the scales to a slightly more darkwave feel, with a synth doubling her every note. “Second Skin” takes a mid-tempo approach, with a two-note guitar riff and Lynch’s haunting vocals. The doubling up on her vocal tracks makes for a great listen. A hip-hop inspired beat leads into “Drown Like You,” with a tinny piano riff and another two-note bass line.
The percussion for “The Ocean Beside Us” fits weirdly with the piano run and the vocals, but it’s a fun bit of dissonance. That said, I could totally sit and listen to an album of just piano ballads sung by Donna Lynch, her voice is just that easy to listen to. Between Archer’s lower vocal range, the piano plinking behind him, and the synth-driven soundscape, there are some big Type O vibes from “The Map is Not The Territory,” serving as a one-two punch of melancholy from the duo. The upbeat “Song of the Divine” might be the strongest overall track next to “Hydra,” with its guitar-forward execution and dark rock sound.
“Blind Arms” sees both Lynch and Archer share vocal duties, splitting them in the verses while Lynch handles the choruses. Another rocking track, it is a great follow-up from the previous one. Strings and low tones drive “Too Many Empty Nests” along, Eventually, the drums creep their way in, without taking over the mix by storm. Another melancholy groove comes in the form of “I Live On What’s Left,” with a simple beat, piano, and synths bolstering Lynch’s heart-wrenching vocal performance. Following that dip into grief, the uneasy “Aurora” plays out with dreamy and unnerving synths, developing into vocalization and atmosphere throughout its eight-plus minute play time.
“The Explanation at the Center Of It All” feels cinematic in nature, with its restrained delivery. It features just a simple drum beat, a couple of synths, and another standout vocal performance from Donna. If this feels like a cinematic track, “Drive” feels like an end credits crawl song, as it gives a feeling of everything wrapped up in a nice neat bow. Closing out the record proper is Edward’s Version of “Above the Soil,” a smooth as silk synthpop-inspired track that bounces along on air.
Coming back to where it all began, it’s a great experience in dark industrial rock, and having reviewed both Wolves and Stoneburner’s Red in Tooth and Claw now, it was great to come back to the genesis of the Archer/Lynch musical tag team. When a record this old still sounds fresh and exciting two decades out, that is a winner, hands down.
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