Darkroom Magazine reviews P.O.P. POP, translation

Translated from Italian using Google translator.

“After five self-produced works, the solo project by George Pappas returns to collaborate with a label for the publication of his eleventh full-length album, notably with the Russian ScentAir, which released the CD version of the limited edition album of 300 copies in essential jewel-case packaging.

After the albums released together with the singer Deity, or the dreamy “European Electronic Cinema” of 2016 and the penultimate effort “1980 Redux” of August 2017, the historic Australian keyboardist (who we remember among the ranks of the famous pop band Real Life) seems this time, wanting to move the center of gravity of its persuasive and enveloping synthpop towards structures with greater physicality in a dance style, as can be seen from the beginning with “Take Me To The Theater”, endowed with the usual class and great melodic refinement, and above all with ” Monochrome “, whose solid groove touches upon EBM with a set of blatantly dance solutions.

The refined sounds also mark “Byron Said To Mary” with relentless beatwork, and while there are several occasions when both the groove and the construction strongly recall exquisitely retro solutions (the title track, “Devil In The Detail”, ” Aim With The Wrecking Ball “,” Isambard Kingdom Brunel “), it is up to” Charles Dickens “to remind us how elegant and persuasive George’s classic writing may turn out to be. With the conclusive” Isn’t It Cliche? ” & fluctuating atmospheres of “Endsong”, it clearly clarifies what role the 80s played in the formation of the expert and experienced musician of Melbourne, who at the time was already active on a musical level, and who therefore really lived that golden period.

Probably those who liked the more nocturnal, elegant and silky enveloping aspect of albums like “The Unquiet Grave” or “Ghost In The Rain” will be surprised by the physicality of Alien Skin’s new work, but the hand of veteran Pappas is always recognizable, and does not disappoint this time either.”

Roberto Alessandro Filippozzi

Read original review here