Raime’s post hardcore offshoot Moin mesh wiry guitars and rough hewn sampler chops to Valentina Magaletti’s flinty drums on a spring-heeled 2nd album for AD93 - RIYL Big Black, Slint, Fugazi, Discord-era bands.
‘Paste’ is the successor to 2020’s ‘Moot!’, which arrived some 8 years after Moin formed with a pair of releases for Blackest Ever Black. The project has since become the main vehicle for Joe Andrews and Tom Halstead’s fecund imagination, propelled by Valentina Magaletti’s drums, which had previously lent a seething bite to their Raime albums. Like that much adored project, Moin deal in a development of teenage nostalgia, whittling down enduring influences and reference points from the ‘80s & ‘90s to a taut, sculptural form of kinetic energy that moves perpendicular to contemporary trends.
There’s a shared sense of brooding introspection that ties their work as tight as bandaged straight-edge mitts; both projects defined by a certain swagger and discipline, but with Moin distinguished by a sweatier impulse that conjures the smell of sticky pub backroom carpets and well-worn band t-shirts from bygone days. Frankly, this reviewer hated that era in the late ‘90s, between post-hardcore and proto-emo, when the other main teenage option for an evening in small towns (they’re from Reading, I'm from a bastion of this stuff with links to Leeds’ epicentre) was £1 pint bars and shirts ’n shooz clubbing, but the way Andrews, Halstead and Magaletti reframe its context with a patina of half-heard, oblique samples, and a lean swingeing motion, makes it more intriguing and worthy of your time.
The nine songs on ‘Paste’ coolly distill their inspirations in sinewy chops between the skulking stepper ‘Foot Wrong’ and prowling discord of ‘Sink’, balancing teenage melancholy with more grown up Leslie Winer-esque samples in ‘Melon’ and ‘Knuckle’, and a certain tristesse in the melody of ‘Yep Yep’, while ‘Forgetting is like Syrup’ recalls Sonic Youth’s Chuck D propelled ‘Kool Thing’ in its pitch bent gnarl, and ‘In a Tizzy’ comes closest to more recent Raime works. ‘Life Choices’ is the clear highlight, gluing their wiry-then-saturated guitar top lines to a pendulous, needlepoint step and samples with a sexiness that recalls Kreidler’s recent evocation of ‘80s post-punk.