It has a post-rock atmosphere with prog-rock elements but a metal sound. Apparently this is post-metal or prog-metal, which I’m not too familiar with as a genre, probably should be. But then again I guess Tool could fall in this category, too, I’ve just never thought of them this way. And thinking about it this way I ralize the difference between post-metal and prog-metal. Tool is more on the prock-metal side essentially coming from a prog-rock/art-rock angle just adding more metal weight to instrumentation. While The Ocean is more heavy on the post-rock vibe with epic instrumental spaces where massive and rhythm-heavy riffs bridge calm and sorrow melodic sections.
In any case, this is a fantastic record, takes me on a journey, and I definitely want to follow it up with its successor Phanerozoic II right away.
I recently got a batch of suggestions spread along the interesting-weird axis, and this one stuck with me. British dance beats (mostly house) with Nigerian hiphop female vocals. I have this strong feeling that I’m totally late to this party and hits like Fake ID and Ginger must have spinned their fair share in certain parties and radio shows that I totally missed apparently.
Leading up to the new album when the first single, Lucifer appeared did I come across MOLYBARON and it was an instant hit for me. The new track got me hooked with its extremely satisfying hard rock flow crossed over with the totally heavy metal riffs and vocals of the chorus. I also love in a rock song when there’s a post-chorus bridge that’s just totally outside the normal flow of the track and takes you on a little trip of its own. That’s also very strong in this song.
So, after listening to Lucifer a mere fifty-something times did I realize maybe this band is not coming from out of nowhere and that’s how I ended up with their debut record. It’s an awesome introduction, I get many more of that above described song structure, and there are surprisingly few tracks that I’d call fillers. It’s a proper hard rock ride. I can imagine a MOLYBARON live concert as a steam-filled two hours long train ride without breaks, I hope that’s true. Anyhow, just based on the two new tracks the evolution and perfectioning of their voice is unmistakeable, so looking forward to the new album quite a bit.
It’s like the love child of Dead Can Dance and industrial music. It’s a krautrock thing and a psychedelic rock thing. And it is amazing. I’ve been listening to this record almost continuously for a while now and it just enchants me. It’s hypnotic and atmospheric and opens up a magical world of its own.
One of my go-to focus music for the past month. Cinematic ambient with chiming sounds, dark textures, monumental spaces, it’s quite a journey. I see the full movie playing in my mind. Also great for reading, especially something eerie, mystical, or set in outer space.
Not an innovator but a pretty good industrial electro-metal record, like in the footsteps of Rammstein but more on the party industrial side of things. I listened to a whole bunch of new releases from the industrial and EBM domains, I wanted to highlight some great surprises, but there were not much to mention at all. This one however is easily one that I am happy to relisten.
I find this record enchanting. That nice kind of electronic music in the footsteps of all the wonderful creations by Moderat or Kiasmos. It has a lot of emotions but I don’t feel any cheesyness about it, it’s well crafted music, nicely put words, feels authentic to me. And especially the track Sirens, that’s a massive head and heart trip with goosebumps.
The Hacker is a timeless classic of Rother’s that I will always list within my top electro albums. I love this dry, cold, glass-eyed android electro that he served at the time. After a while he had faded from my radar and sometimes when I checked back I didn’t quite get some of his releases. And now it seems like he returned to the roots. It’s like classic Anthony Rother even with some Kraftwerk to it, too. Although, in full honesty looking at this from 2019 (and as something written in the recent years) some lyrics seem rather vintage and in that sense funny. Like saying “creator, the code is my command” has an aesthetic to it that I love but it’s retro, like how grandpa imagines the soul of an electronic calculator.