The Danish-Canadian part-time Berliner Sally Dige is best visualized in black and white. Her art is obscure, shadowy, cold, and oh-so seductive. Song titles like Dance of Delusion, Doppelganger or Immaculate Deception might have their source in a film noir flick whose soundtrack, decades ago, was written by bands like Liason Dangereuse, Eurythmics, or Desireless. Sally’s sound paints an interplay between desire and rejection. It’s an icy cocktail stirred of dark wave, synth pop, and Italo Disco. It’s the sound that drove the kids of the 1980s into this this. After two years of work, Sally recently subsumed all of her creations until now into the album “Hard to Please” on the Scottish label Night School Records, which also pressed on vinyl the latest works by the similarly-minded TSF’15 diva Molly Nilsson. Dige works just as autarkically and interdisciplinarily as her Swedish colleague—she takes as much responsibility for the distinctive aesthetic (distinguished by her costumes and video clips) of her performances as she does for the sound.

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