VACUUM CULTURE OF NIGHT ALBUM SSC, PLAYGROUND RELEASE: OCTOBER 14, 2002 REVIEW: OCTOBER 14, 2002

I will try not to bitch and moan to much about my disappointment with this release. I am not sure if I will be able to, though.
As a semi fan of Vacuum since their huge commercial success with "I Breathe", I found myself extremely excited, borderline horny, when I heard the new single earlier this year. "Starting (Where the Story Ended)" marked a new start for the band, abandoning parts of their "I will stand at the edge of a cliff and sing this song to the world, surrounded by heavy rain and violent thunder storms"-extravaganza.
What becomes painfully evident on "Culture of Night" (Scandinavian edition), is the difference between the Vacuum of, say, 1997, and today, since material from both band constellations is included.
The only reason to release this album in 2002 (it was originally recorded a couple of years ago and released in Russia and the Ukraine) would have to be to present it more thoroughly to the Swedish audience. But why label it new? It has been available through import and via certain mail order sites for quite some time now. Granted, there are two tracks that differ from the Russian version, namely the two tracks on the "Starting" single! Ridiculous.
There are a handful of good tracks on the album, however, but the hardcore Vacuum fans have all heard them before. "Let the Mountain Come to Me" is a great, power boosted synthpop symphony, albeit from 1998. "Tears" works well through Mattias's powerful voice, albeit a cover of a track by former label mates Playground International.
"Culture of Night" is well above average judged as a craftsmanship product, but it lacks an outspoken pop aura and catchy choruses. I would like to see Mattias and Marina record more new songs in the vein of "Starting (Where the Story Ended)". Maybe then, the big break in Scandinavia will come. "Culture of Night" simply is not enough.

NIKLAS FORSBERG