New European Synth Collective A State Of Flux Tries On The Grey Suit For Dystopic Ultravox Cover

Yesterday I got a submission to the contact form that certainly raised an eyebrow…or three. The mysterious Euro collective A State Of Flux joined with Stefan Netschio of Beborn Beton and Pete Burns [no, not that Pete Burns] of Kill Shelter to revisit the darkly brooding Ultravox classic “Dislocation.” And I just got goose pimples merely typing that phrase. It makes a lot of sense that this track would be getting the love now. Can we not deny that the “Systems Of Romance” track was probably the second step towards a new genre first taken by Kraftwerk months previous on “Hall Of Mirrors,” and if not precisely point zero to the Darkwave genre, it was certainly so close to the Düsseldorf quartet’s bold stylistic flashpoint that its second-to-market status was inconsequential.

A State of Flux were collaborating here with Messrs. Netschio and Burns. Netschio called his background Synthpop but it was already of the crepuscular latter Depeche Mode variety. While Burns stated that his brief was to inject Frippian Belewisms of the original release period into the track in order to create perpendicular tension within the music. How can we not be ready to receive such gifts?

Stephan Netschio + A State Of Flux: Dislocation – EU – DL [2025]

Dislocation 3:38

The percussive metallic attack on the intro riff moved laterally instead of the ascent of the original, and it was mercilessly cut short by the arrival of the heavily chorused slabs of synthetic doom. Stefan’s vocal came from a very different place to Foxx’s original dispassionate performance as the descending synth harmonics displacing the original “oh, oh, oh” backing vocal added their downward drag to the whirlpool of sound to be found here. Netschio’s delivery on the middle eight played against the heavy weight of the backing track as he altered his phrasing to build an ascension amid the downward pull of it all.

Pete Burns of Kill Shelter — Pete Burns contributed sheet metal guitar to add discomfort to the inhospitable landscape of the song

Back in 1978, it was radical of Ultravox to release a song that was completely synthetic. Nearly 50 years later re-introducing guitar, albeit with heavy processing, was itself a radical act. Burns’ guitar howled like sheet metal being drastically reshaped on a stamping press. Issuing sparks from the very song itself as he surgically slashed into its core. The song itself leaving a barren landscape in its wake as the track retreated into its fade. Try it yourself and see what you think.

Let me say that I’ve been listening to this song since 1981. I consider it a pivotal song by my favorite artist on what is my favorite album I’ve ever heard. If artists see fit to cover an indelible song like “Dislocation,” then at least they’ve expanded their efforts to move the song outside of its original, immaculate template. Dystopia is no longer an abstraction. It is breathing down our necks and that is reflected in this rendition of the song.

I was sent a promo of this but my esteem was such that I immediately bought a copy at twice the modest €1.50 asking price. And sure, sure. I got the better than CD resolution 24/48 copy on my network. I’m just saying that if you hold this song in the same high regard that I do, that you might consider it as well. DJ hit that button!