- 4 songs to download
- You name the price (min 0,-)
- You get the link if you register your email address
- Listening recommendations: Pre Lone
Moxie is not afraid to be loud, noisy, overlap, or drone. Anyone can hear that within just the first 20 seconds of this set. Random drums blazin’ with distorted keyboard sounds like an obnoxious anthem. This is how we are introduced. With a quick glance at the time of the beginning tracks, I sort of knew I was just expecting groundwork. Something the build on, or being leading with. This helps to not expect a song song but more sound than anything. I like rocky roads, and appreciated the experimentation and unprecedented drums-and-keys. The 2nd track is an interlude of sorts with both drums and a mini soundscape collaborating, ending with an expanded reverberated room sequence. (Funny how much I’m able to talk about just 2 minutes into this.) Then the 3rd track comes in, and at last there is order in the musical hall. But it’s more than order, it’s the most pure and peaceful computer created song I’ve heard. I felt genuinely happy to play around with these bright keyboard strokes; and I also felt relieved that there’s more to this slightly chaotic computer banter. (Listen to Great Bay Shrines by Sweet Valley. Same idea.) But it is obvious where the climax is. Any Breaking Bad fans in the building? You will love the closer. I could go on about how great the scene that’s sampled is, hell, I could go off on how great the entire series is; but let’s give credit where credit is due. Moxie picked the perfect background to complement this powerful moment in the monster newly created in this show’s protagonist. And even though the Walt’s sample is about a fourth of Baby Holly, the dark tones advertised on the description of Pre-Equipped are left to burn and settle in the air like radiation from a lead acid battery. I AM THE ONE WHO KNOCKS. Intense goose bumps commence, followed by these dry and cold screeches, necessary drum taps, and my favorite glitch-like computer sounds (see Idioteque by Radiohead). I get drowned by graveyard fog towards the end, and left to be haunted by the dialogue in reverse.
Because this EP is artificially made, the feedback I’d give would lie in the area of production techniques. While Moxie pans at sometimes, I think panning completely or some ear-to-ear effects at times would heighten the delivery. But that’s about all I have to add. Even though I wasn’t left wanting more exactly, an album of at least 15 minutes with this kind of consistency would definitely get at least 4/5 from me.
Dear Moxie, make more.