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With the demise of the Mars Volta on everyone’s lips, the ever prolific O-Rod drops his latest solo LP this week, with his cousin Marcel handling drums and programming and Butcherette Teri Gender-Bender (also of his new Bosnian Rainbows project) on vocals. I was expecting another of his slick technicolour splay-fingered Latin death-jazz assaults but what I’m finding on this record is totally surprising me, with loops and sequencers and synths taking centre stage in a woozy collection of wonky experimental r’n’b pop, a little bit gothy with loads of smooth twinkly analogue tones, stabbing Carpenter synths, pulsing, stuttering beats and detached crooning from Gender-Bender, whose delivery reminds me a little of Neneh Cherry’s on her tremendous recent LP with The Thing.
Despite already having been told twice, Phil just asked me if this is really the new Omar Rodriguez Lopez album. I can assure both him and you that it is. The sad part is, the audience who would enjoy this the most will sadly probably be put off by his past jazz-prog theatrics. If you’re into Laurel Halo, The Knife, Zola Jesus, the Drive soundtrack, the most recent Wet Hair album, and all the analogue synth worship that’s been doing the rounds lately, I seriously recommend setting aside your preconceptions and giving this one a go. A real high point in his huge and varied canon.
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