Mother Of Mars
Ransom Note Records
TBR: 5th March
This debut album release from ex-The Rapture veterans Vito Roccoforte and Gabriel Andruzzi brings on a brand new name for the electronic music scene. Mother Of Mars now includes the vocals of Jaiko Suzuki, and after a long journey of post-punk, dance, kosmiche, and many other styles, this new outfit presses the right buttons on many stations while staying true to their novel and original sound.
It begins with a huge reverb and sloshing percussion sounds that echo and dissipate into seemingly endless valleys. Rattles and shakers conjure a frantic softness that ripples in time to something brewing beyond. Cymbals and drum then find a niche, tempo rises, beats and percussive phrases begin to paint a picture. A sudden rush of drum brings out a funky bass which soon becomes wrapped in zappy keyboards. Melodics rumble through Durga & Demon in foraging compositions as astral hedonistic sounds collide and evaporate with dream—like intensity.
I Hear is next which takes on the vocal talent of Jaiko Suzuki. Tempered beats thump in carriages and trains of intent as seductive close-in words chant melodic words into the merging synthesiser and drum. A building of passion and tone fathoms from deep waters that sparkle like lemonade as gutsy bass keeps time with the growing tree of lyricism. A harmonising vocal layer appears, surging the sauntering energy into new storeys that look out over patchwork gardens.
Next, a clock-like tempo begins ticking with a gentle swish of melody. Extra notes chime in electronic and fizzy motifs which knit together into a gradual formation of rhythm. Jaiko's charming voice returns with emotive dramatics. The words drift in lines of choral intrigue a blips and ticks gather like falling rain on hard street-lit surfaces. A drum-fill marks a new section and bass thunders in along with extra drums and percussion sounds. The lyrics continue as they would yet bumped up with extra compositional power.
Matteruno begins with a monotone beeping that shimmers with extra lustre. New motions emerge, melody and subtle shifting tones caress a simple and sleek tempo. Silky vocal returns with enchanting scope, the notes hang from cliffs and leap from hills as if in a dream dance. Odd sounds are effected and looped in extra outcrops of sound as more tingles reveal as mirrored feelings among deep and resonant chords.
An up-beat rhythm opens, dancing warbles of tone leap and frolic like rain bouncing from already wet ground. Revolving chimes and singing apparatus craft a spiralling energy within a neat mix of soft drum and intense high end. Shrill and emotive edges break from form like itching ribbons taking chunks out of a cloudy sky. Through The takes us into a kaleidoscope of fundamental particles and whizzing sensations of quantum ambiguity.
The album ends on Space Without A Shadow. It begins with a characterful bass rhythm thaat's framed with shattering cymbals. Melodic reaches bring out a swooping floor to descend into and as we do we're greeted by the familiar vocals that make this album so wholesome. Resonant drums scatter sounds into angular junctures while moody and velvetine pressures brush against our goosebumped skin. A new energy intervenes, the vocals speed up with powerful lines that have self-similarity. The whisking of frantic motion remains true to its form as melody and timing create a natural framework for the focus to continue upwards.
Topped with an instrumental version of the first number as an extra-special bonus, this long-reached album carries us through around 40 mins of intense and well-designed sound cartography. We're taken by the hand through landscapes and maps which shift our perceptions of what mixing breeds of electronic music can do.
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