ÄTNA release their new single, “Come To Me” in the run-up to the release of their debut album, due in February 2020. The third single in three months certainly shows a sign of intent to follow up 2018’s La Famiglia, and last year’s self-titled EP. Although recently released, those projects both had works from as early as 2016, whereas these newer tracks are sounding very exciting.
“Come To Me” builds into a frenetic, almost frantic pace from the bouncing synths at the off. With just enough of the distinctive modulation on the vocals to somehow slow down and speed up the feel of the entire track when they kick in for the opening verse. “Come To Me” doesn’t have the pounding, driving techno four-to-the-floor as heard on “Ruining My Brain”, it leans more heavily on an electro-pop pattern closer to “Sister” or “Brother”, but with a much more dazzling arrangement.
“Come To Me” is a confident woman’s attempts to persuade her partner to make an effort before disappearing once and for all. Featuring an astonishing vocal performance and a brutally propulsive rhythm, it accelerates around hairpin curves before a sudden surge towards its finale – ÄTNA performs the same trick from the opening lyrics, seemingly simultaneously slowing down and speeding up the song before the tribal, fiery ending and punchy exclamation point.
The video for “Come To Me” is an engrossing work of art. The visual pallet of the entire video pairs ever so well with the key of the song. Jumping between takes members Inéz Schaefer and Demian Kappenstein as they find themselves playing with gender roles, deliberately blurring and breaking down boundaries. Demian appears first, and throughout the entire video, is depicted on every solitary mode of transportation imaginable, always moving forward. Inéz is contrasted by the static, empty room in which she finds herself, dressed in a wavvy checkered outfit, accompanied only by her tambourine. The idea of Inéz’s powerful vocals manipulating the tempo on the track came to me from how she appears at first crouched down and becomes more empowered by her movements as the song builds; all the while, Demian keeps going forward. Employing elements of dramatically different motion and genres, Inéz and Demian integrate fashion and design into their music which matches perfectly with their entire aesthetic.
Retro and futuristically avant-garde at once, ÄTNA are indeed a work of art, yet simultaneously unquestionably accessible. They call it simply “making their own world”, but where do they actually belong? Among Germany’s most exciting newcomers, ÄTNA have already played at The Art & Exhibition Hall of the Federal Republic of Germany; they have performed at high proﬁle festivals at home and abroad, and earlier this year landed a slot at the Montreux Jazz Festival; have toured across Russia, Czechia, Slovenia and Estonia, and have performed in cities as diverse as Istanbul and London, with Venice already scheduled for February. Their innovative live shows are focussed around the piano – with analogue effects mixed indirectly, loops, effects and delays played live, and nothing automated whatsoever – and while some might use Autotune to straighten a singer’s pitch, any vocal treatments here only add depth to Inéz’s striking vocals. Currently, ÄTNA are planning their first virtual reality show.
With just two EPs to their name, ÄTNA’s opulent songs have already clocked more than 8 million streams on Spotify. Their debut album, “Made By Desire”, is due for release on 14 February 2020. The album will be available as limited coloured vinyl, CD and digital download/stream. On 15th January the band will be playing ESNS, followed by an extensive tour in Germany, Switzerland and Austria.