Darkness In Me is a pretty unusual electronic pop album. There’s a dark, almost gothic new wave sound running through it, with atmospheric synthesizers, driving rhythms, moody guitars, and a distinctly theatrical approach to the vocals. Celia Hemken vocal expression takes some getting used to. She moves between spoken-word passages, high-pitched melodic lines, and more expressive performances that sometimes feel closer to acting than conventional singing. She’s not always interested in simply hitting the notes. She’s using her voice to create characters, tell stories, and add another layer to the music.

The opening track, “Quiet City,” establishes the mood with its eerie, cinematic atmosphere. But the album isn’t content to stay in one place. “Lonely Like an Office Block” is an upbeat, catchy piece of electronic pop, with a darker, almost satirical edge underneath it. It brought to mind The Beautiful South and their ability to wrap uncomfortable ideas in accessible pop arrangements.

“The Wrong Door” picks up the pace with a driving drumbeat and a more theatrical vocal performance, while “Angel Eyes” introduces a slightly jazzier feel and more prominent guitar.

“Lullaby of Treachery” is probably my favorite track. It’s a slower, piano-led song with a hypnotic quality, and Hemken’s vocals are particularly effective. There’s something dark but also very pretty about it, with a little of Kate Bush’s more dramatic side coming through.

“Obscurity” takes things in a more experimental direction, playing almost like a conversation between a man and a woman before developing into something closer to a piece of performance art. The stripped-back electronic arrangement, unusual vocal exchanges, and almost flute- and saxophone-like sounds give it a very Laurie Anderson feel.

“Glass Heart (Theme From The Movie Beetlejism)” is another highlight, combining a disco-like beat with scratchy, moody guitar and a vocal that almost becomes part of the soundscape. It creates the impression of moving through a city at night, with something slightly unsettling lurking beneath the surface.

There are moments when the album becomes more immediately accessible, too. “Spidergirl” has an infectious opening hook and energetic synths that almost suggest a club track, while the title song is probably the closest thing here to a straightforward rock song, with electric guitar, electronic percussion, and a more direct vocal performance. Even then, there’s still something a little strange about it. That sense of unpredictability never quite goes away.

The way Hemken combines electronic pop with more experimental ideas is what makes this album so distinctive. The songwriting doesn’t always follow familiar patterns, and the production gives her room to explore different textures, moods, and vocal approaches.

Sometimes music is more like an artistic experiment. That what I hear with Darkness In Me. It has elements of performance art, with Hemken using the familiar sounds of electronic pop to explore different textures, moods, and approaches to songwriting. She has a distinctive vision, and the album is a fascinating example of an artist pushing beyond the boundaries of conventional pop.

Verdict: Worth a Spin

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