This is easily one of my most influential albums that I came across in 2020. Modern technoid EBM with bubbling analog synths and tight industrial beats. It has all the dark beauty of any oldschool EBM but without the spotlight mainstreamism of some retro abusing modern electronic music. They are to EBM what Led Er Est was to post-punk goth rock—something new that understands the roots and fully lives in the present. Wonderful, fantastic music, soundtrack of my life material.
Actually there’s nothing too special about this album, good old sounding EBM and aggrotech. Still somehow it managed to gain quite a few plays recently. It just has everything ideally put together that I want from a hellectro record, and well, nowadays I don’t really remember to dig up old Hocico albums. (Maybe I should.)
Epic synthwave cinematic style. Everything this guy has produced so far is gold.
Absolutely classic EBM. Some tracks are more on the rhythmic noise side with raw and metallic synths, while some are more about vocals and melodic futurepop. But all in all it has most that I love about electornic body music. Fantastic cover photo, too.
Funny story, I haven’t known this is an Amon Tobin alias up until the point I got to writing this post and looked up info about this album. And already having listened to the full thing a couple of times. And I was already amazed. And now I’m double amazed. If I listen to the track Long Down now, I have this “what were you thinking” moment, like, of course it’s him.
It’s a super massive, amazing record. All the best of Tobin’s smart mid-tempo electronics spiced up with this rock and roll attitude, dragging heavy beats, all coming together for some heist movie chase scene atmosphere. And full-on surf rock in King of Kong – whaaat? I love this so much. It’s a silly ride and all over the place but sounds fresh for him and feels like a free spirit. Very well done.
Footnote: another artist who chose to be someone else for a bit to be able to work freely, like what I mentioned before.
Electronic ambient with some oriental instrumentation and spoken words, but the most powerful bit and its most unique voice is at the end in the last two tracks, which are totally detached fromt he arc of the album by the way. Actually I’d rather have those two separately as an EP and be happy with it.
Self Doubting Trip is a cinematic-atmospheric soundscape with a tight beat and tense tune, like when the big reveal of an exciting movie is just being unfolded. Then in Dekotur this continues with some chiming sounds and a whole lot of layers building up very slowly. This latter bit actually feels a lot like the beginning of Johnny Jewel’s Vapor, the two could nicely play after one another. (It’s like the end of Terminator and the beginning of the Matrix.)
Beautiful peaceful ambient.
Starts off as an IDM thing, then at some point turns into a drum and bass thing.
It’s just a single track but an important return of O. Children’s singer as a solo effort. It’s hard to say from this one song what to expect from him next, but most probably will keep the direction where his band was heading with goth moody ballads.
In 2010 I was overwhelmed to see a bunch of newcomer goth bands who could pour fresh blood in the veins of this genre that just keeps coming and going with a heartbeat that does one forceful thump once every five to ten years. In ’10 I stumbled upon Led Er Est who made a debut the year before, then O. Children’s first record came out this year, and these two etched a mental note to the start of the decade for me. So, this is why I’m really happy to see something new again from this Okandi guy.
It’s a second Four Tet in a day, but I just did a catch-up on Spotify, and this one also needs to be pinned up here. Title track and Lahaina Noon both make my head wobble.