Scenius, by way of the UK and France, have been a new band I first heard in the latest “Generation Blitz” compilation from the State Of Bass label earlier this summer. I’ve enjoyed the singles they have issued leading up to this, their new album, “13 Billion Light Years.” With the cosmological aspect blatant in the title, the use of spectroscopy images on the cover art all coheres tightly by now.

Scenius: 13 Billion Dark Years – FR – CD/DL [2025]

1. 13 Billion Dark Years
2. Swift As Light
3. Golden By No Means
4. Every Time
5. Funny Sky
6. Guesswork
7. All In Good Time
8. Five-Arm Crystal
9. Beat The Light
10. Blink

The hum of the synth loop in the intro to the title track managed to capture the emptiness of the distance inherent in the album title. The accentuation of sonic space allowed Fab Nau’s vocal to enter into an almost psychedelic space poised betwixt the explorations of The Beatles and The Stones. A place where the spacious and low-key music allowed him to define the melodic parameters of the song before the synths and rhythm joined the song at its halfway point. Still, the sense of isolation remained strong here, even as the music opened up and expanded its reach.

The mood lightened considerably for the single “Swift As Light” which we previously reviewed this summer. Its earnest and approachable qualities were in almost stark contrast to the sombre opening. A middle ground of sorts was reached on “Golden By No Means,” where the most emphatic and pulsating rhythm track came to the fore here. As the song progressed, it attained an appealingly cinematic, minor key vibe that offset its determined rhythms. Where gated synths in the song’s climax approached animalistic trills.

The almost military snares that began “Every Time” allowed the wistful synth leads to play against them as Fab’s vocal sided with the determined rhythms. This song was one that had been my entrée to the band on “Generation Blitz” Vol. 1 earlier this summer.

“Funny Sky” had been the initial single released from this album campaign, but I hadn’t heard the band at that point. The syncopated rhythm section allowed Fab’s vocal and the elegant melody to stand apart from the fussy energy of the track. With the middle eight attaining an almost magical lightness of touch.

“Guesswork” was a return to Synthpop orthodoxy on the program. But even there the haunting melody of the chorus coupled with the synth glissandos shooting upwards throughout the song made sure to stamp the material with the duo’s penchant for an intriguing melody. One that takes care not to pander.

The minimal intro to “All In Good Time” was nothing but a desolate synth loop; sounding like a distant space probe, with a monosynth lead line adding further ambiguity. Mr. Nau’s vocal joined in and methodically joined the barely there music bed; imposing a melody on the minimalistic track. Making the sudden emergence of the rest of the arrangement rushing in at the first chorus and expanding the scope of the track all the more shocking while maintaining its strict tempo. While the arrangement went back into its shell for the next verse, this push-pull dynamic continued throughout the song.

“Five-Arm Crystal” broke tradition here with an extroverted melody that boldly staked a claim with its fiery bluntness contrasted expertly with the elegant, icy piano shot through the track. The relentless drum programming almost touching upon House rhythms in spite of the laid-back vibe. The appearance of a dance break almost shocked as the generally demure duo had shied away from such such contrivances elsewhere. This one showed the former wallflowers working up a sweat with aplomb.

“Beat The Light” offered another earlier single to beguile with its introverted charms reverting the band back to form following the shock that was “Five-Arm Crystal.” The dreamlike synth vibrato solo here was still managing to pull us into the song even after many months. Then the album ended on a note similar to the one it began on with the bleak, minor key unease of “Blink” nonetheless attaining anthemic qualities as the contrapuntal chorus warmed the chill in the air each time. It’s middle eight finally offering up some rays of sunlight that offered us some hope wrapped up in the song’s doleful vibe.

This was an album that kept things simple and engaging. It was content not to clutter up the arrangements and to even pare them back to allow Fab’s voice to carry the main melody, and as such, it’s not an album that’s a candidate for an instrumental version. There’s a coherence to the vocals and music together that was greater than the sum of their parts. Though we live in a infinite track universe now, this was an album that felt content to keep things simple and direct and maybe to cap off each song with no more than eight tracks.

And the austerity of it allowed its few flights of rococo flourish to momentarily break the spell of introversion that cast a long shadow over the vibe of this album. And to add dynamic textures and contrast to the proceedings over the arc of the album. The emotional directness of the album, designed to place singer Nau at front and center in most times, coupled with its succinct brevity [it’s well under 40 minutes in length] make “13 Billion Dark Years” an album to revisit frequently during this season.

The album will be available tomorrow in DL for €9.00 with a physical option of CD for €14.00 so you can pre-order your copy today and quickly reap the benefit tomorrow. Speaking of which, I won’t be here tomorrow as I’m heading to Charlotte to see Lene Lovich, as well as DEVO for the first time ever. In the interim, DJ hit that button!

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