Captain Mustache - Tourbillon Nocturne (Ft. Dave Clarke and K-1) - Science Cult Records | The Electro Review
Tourbillon Nocturne (Ft. Dave Clarke and K-1)
Science Cult Records
TBR: 27th August
In such short time, Captain Mustache has matured from obscure fandoms of loosely knitted connoisseurs to big poster fame thanks to relentless hard work and the willingness to share his talent with other chief players. Blending indie, electro, and clash with some of the brightest sparks in the fusebox, this electrifying long-play double pink vinyl will go down a treat.
The music opens on a creepy bass driven lead that twangs with snapping snares and rattling hats. Melody rises in the bass-line as subtle shifts in tone reveal soulful aspects of the tempo. Electronic voice sounds then overlap the music. I Like to Program features K-1. Digitised poetry rambles and rhymes with ruminations on the pros of writing electronic music. Crafty synthesiser lines replace the phonics that swift and swerve like ghostly violins. Rhythmic attitude continues the slow burning and percussive surge through continual kinesis.
Reverberations of tom-tom and zapping rolls fluxate into rivers of hat strikes that bounce into wooden blocks. More robotic voice opens, less effect, deeper expression, and an epic drone accompanying, shifty grooves splatter with dapper spreads of droplet like percussion. Bass fills the void where silence remains and thumps us with long-distance telephone calls of feeling moved. The Mirror featuring Dave Clarke is a fast and lo-bit drive into awkward harmonies and phantasmagoric voice-overs.
It's followed by Super Shaver. A wholesome snare starts the show which signals the marching band bass and synth duo. Their whistling pulsations fly a flag for uplifting breezy adventure. Sliding doors peel to one side in mechanised movements and gestures. In they come, crowds of people pricking their ears like savanna beasts in a thunderstorm. Showers of high intensity rhythms bring on a glistening barrage of drifting and motionised expression.
Scrambled bass lays down a crazy-paving network of suggestive beats to the friction of a one-two bass snare combo. Astral sonics glide through the upper atmosphere in twinkling displays of magnetised and heated magic. Burst glares fill the ground with light and over-sense the floor as scampering shadows zip into cover. Confinement featuring dynArec throws layers of oscillator into a conveyor of dynamism as squashed verbs outlay the angular oddities that exist here.
The aptly titled Super Great Song hits us hard with a squidgy bass-riff and sudden drumming that rampages through the system. A wow siren surges outward in regular bursts of excitement as fluctuations of melody ripple and collide with the rapid beats. Melody from the 80s meets energetic moody rhythms that sit on fences between the light and the dark. A soundtrack to snooping and a dramatic atmosphere align to break the dance-floor.
A springy drum program opens an abstract corner of the present. We peel away the vibrancy and well-stuck paper and find soft and warm vibes glowing inside. A crunchy rustling continues as the compressed innards flush into their new surroundings. Then an electronic motor begins to whizz, throbbing with rhythmic bursts of power. Melodic additions craft neat lines along the top of La Vérité Des Songes, squirting the notes through various tonal effects to creates snakes of melody that sit tight although abstractly.
A bouncing groove splats on the table like dough being rolled into pizza. Snare and rubbery bass work hand-in-hand to deliver the impetus as multi-tonal synthesiser gradually builds to greet them. Harmonising delays bring a nuanced and folkish dynamic to the tune as happy melodies bobble on awaiting drums. A.B.R.I.L. Featuring Hiroki Esashika progresses wonderfully, growing in dancing applications as tuneful bursts of repeating digital bells lift the spirits.
A new character manifests as chocolatey bass drizzles on a flapjack of building beats. A subtle vocal lifts like Michael Jackson as raindrops of tune splish onto the red-hot surface. Drinking in the beats is a glowing river of synthesiser that guzzles the charm and lurches over for more. Healthy novelties sprinkle the mix as interesting sounds mix with stable favourites to greet each other in an electronic free-for-all. Sunset Caramel turns the whole sky ochre.
Fine Lame begins with a jittered snare-led rhythm. Sweepy synthesiser prizes open the chapel door and bass footsteps scamper into the room. Eager eyes peer through the crevices and senses ingest various tones that decorate the dusty air. Multi-tonal composition runs abstract shapes through the mastering device and manages to perfectly align the symphonic dimensions. Polyphonic and monogamous to the beat, a flowing and persistent electronic run—down through progressive rhythms and subtle key changes enlists the listener.
With a remix of I Like To Program offered up by Cignol, the penultimate number draws a triangle from the Captain to K-1 right back to this. It's followed by a straight edged instrumental version of The Mirror, just to get us in the mood for the beginning of the album again. It's a repeater and it knows it.
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