Moin
Moot!
Boomkat Product Review:
Raime’s offspring Moin pounce on AD 93 with a class debut album propelled by Valentina Magaletti’s seething percussion. No doubt it’s their most direct and experiential recording, bristling with energies drawn from Slint. Shellac and classic post-punk, psych and alt.rock styles plus special ingredients.
Arriving eight years since their turns for Blackest Ever Black, Moin regroup around the core of Joe Andrews (samples/electronics), Tom Halstead (guitars), and Valentina Magaletti (drums) with a definitively upfront sound in ‘Moot!’ Thrown down quick and live and then rendered and textured with Raime’s studio-as-instrument tekkers, their intention was to create “immediate music that isn’t pretending to be anything but”, and the results pay up a fiercely tight but frayed distillation of their band-based influences, landing somewhere between earliest Swans, the yanked noise rock jags of Steve Albini’s Rapeman, and Bill Laswell’s No wave funk experiments with Material, but adhering to a London-style groove discipline that’s underwritten all their best work
It’s perhaps fair to say that this sound is a sore thumb now more than any point in the past 10 years of music’s continuing phase shift from guitar/drums-based rock to electronics, and that’s where Moin’s music gets interesting, feeling torn between paradigms and naturally, deftly darting in the spaces between that stylistic fallout. Guided by studious knowledge and finely honed intuition, they play by their wits more than ever here, lurching from strung-out doom rock mantra ‘No to Gods, No to Sunsets’ via gnashing white-hot guitars and snare attack in ‘Crappy Dreams Count’, to an exceptionally coiled, hi-wire stepper ‘Lungs’ with breathlessly inch-tight precision and unassailable conviction.
It’s all as close as we’ve heard to their rare live shows as Raime - understandable, if considering it’s the same line-up - but clearly with a harder bias toward their rock influences, letting Valentina’s drums and Tom’s white hot guitars breath in synch with Joe’s stabbing samples and electronic smear. It’s effectively Raime unbuttoned, revealing the wiry torso and clacking bones beneath their shapeshifting skin.
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Boomkat Product Review:
Raime’s offspring Moin pounce on AD 93 with a class debut album propelled by Valentina Magaletti’s seething percussion. No doubt it’s their most direct and experiential recording, bristling with energies drawn from Slint. Shellac and classic post-punk, psych and alt.rock styles plus special ingredients.
Arriving eight years since their turns for Blackest Ever Black, Moin regroup around the core of Joe Andrews (samples/electronics), Tom Halstead (guitars), and Valentina Magaletti (drums) with a definitively upfront sound in ‘Moot!’ Thrown down quick and live and then rendered and textured with Raime’s studio-as-instrument tekkers, their intention was to create “immediate music that isn’t pretending to be anything but”, and the results pay up a fiercely tight but frayed distillation of their band-based influences, landing somewhere between earliest Swans, the yanked noise rock jags of Steve Albini’s Rapeman, and Bill Laswell’s No wave funk experiments with Material, but adhering to a London-style groove discipline that’s underwritten all their best work
It’s perhaps fair to say that this sound is a sore thumb now more than any point in the past 10 years of music’s continuing phase shift from guitar/drums-based rock to electronics, and that’s where Moin’s music gets interesting, feeling torn between paradigms and naturally, deftly darting in the spaces between that stylistic fallout. Guided by studious knowledge and finely honed intuition, they play by their wits more than ever here, lurching from strung-out doom rock mantra ‘No to Gods, No to Sunsets’ via gnashing white-hot guitars and snare attack in ‘Crappy Dreams Count’, to an exceptionally coiled, hi-wire stepper ‘Lungs’ with breathlessly inch-tight precision and unassailable conviction.
It’s all as close as we’ve heard to their rare live shows as Raime - understandable, if considering it’s the same line-up - but clearly with a harder bias toward their rock influences, letting Valentina’s drums and Tom’s white hot guitars breath in synch with Joe’s stabbing samples and electronic smear. It’s effectively Raime unbuttoned, revealing the wiry torso and clacking bones beneath their shapeshifting skin.
Boomkat Product Review:
Raime’s offspring Moin pounce on AD 93 with a class debut album propelled by Valentina Magaletti’s seething percussion. No doubt it’s their most direct and experiential recording, bristling with energies drawn from Slint. Shellac and classic post-punk, psych and alt.rock styles plus special ingredients.
Arriving eight years since their turns for Blackest Ever Black, Moin regroup around the core of Joe Andrews (samples/electronics), Tom Halstead (guitars), and Valentina Magaletti (drums) with a definitively upfront sound in ‘Moot!’ Thrown down quick and live and then rendered and textured with Raime’s studio-as-instrument tekkers, their intention was to create “immediate music that isn’t pretending to be anything but”, and the results pay up a fiercely tight but frayed distillation of their band-based influences, landing somewhere between earliest Swans, the yanked noise rock jags of Steve Albini’s Rapeman, and Bill Laswell’s No wave funk experiments with Material, but adhering to a London-style groove discipline that’s underwritten all their best work
It’s perhaps fair to say that this sound is a sore thumb now more than any point in the past 10 years of music’s continuing phase shift from guitar/drums-based rock to electronics, and that’s where Moin’s music gets interesting, feeling torn between paradigms and naturally, deftly darting in the spaces between that stylistic fallout. Guided by studious knowledge and finely honed intuition, they play by their wits more than ever here, lurching from strung-out doom rock mantra ‘No to Gods, No to Sunsets’ via gnashing white-hot guitars and snare attack in ‘Crappy Dreams Count’, to an exceptionally coiled, hi-wire stepper ‘Lungs’ with breathlessly inch-tight precision and unassailable conviction.
It’s all as close as we’ve heard to their rare live shows as Raime - understandable, if considering it’s the same line-up - but clearly with a harder bias toward their rock influences, letting Valentina’s drums and Tom’s white hot guitars breath in synch with Joe’s stabbing samples and electronic smear. It’s effectively Raime unbuttoned, revealing the wiry torso and clacking bones beneath their shapeshifting skin.
Boomkat Product Review:
Raime’s offspring Moin pounce on AD 93 with a class debut album propelled by Valentina Magaletti’s seething percussion. No doubt it’s their most direct and experiential recording, bristling with energies drawn from Slint. Shellac and classic post-punk, psych and alt.rock styles plus special ingredients.
Arriving eight years since their turns for Blackest Ever Black, Moin regroup around the core of Joe Andrews (samples/electronics), Tom Halstead (guitars), and Valentina Magaletti (drums) with a definitively upfront sound in ‘Moot!’ Thrown down quick and live and then rendered and textured with Raime’s studio-as-instrument tekkers, their intention was to create “immediate music that isn’t pretending to be anything but”, and the results pay up a fiercely tight but frayed distillation of their band-based influences, landing somewhere between earliest Swans, the yanked noise rock jags of Steve Albini’s Rapeman, and Bill Laswell’s No wave funk experiments with Material, but adhering to a London-style groove discipline that’s underwritten all their best work
It’s perhaps fair to say that this sound is a sore thumb now more than any point in the past 10 years of music’s continuing phase shift from guitar/drums-based rock to electronics, and that’s where Moin’s music gets interesting, feeling torn between paradigms and naturally, deftly darting in the spaces between that stylistic fallout. Guided by studious knowledge and finely honed intuition, they play by their wits more than ever here, lurching from strung-out doom rock mantra ‘No to Gods, No to Sunsets’ via gnashing white-hot guitars and snare attack in ‘Crappy Dreams Count’, to an exceptionally coiled, hi-wire stepper ‘Lungs’ with breathlessly inch-tight precision and unassailable conviction.
It’s all as close as we’ve heard to their rare live shows as Raime - understandable, if considering it’s the same line-up - but clearly with a harder bias toward their rock influences, letting Valentina’s drums and Tom’s white hot guitars breath in synch with Joe’s stabbing samples and electronic smear. It’s effectively Raime unbuttoned, revealing the wiry torso and clacking bones beneath their shapeshifting skin.
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2024 Re-press. Vinyl includes a download dropped to your account.
Boomkat Product Review:
Raime’s offspring Moin pounce on AD 93 with a class debut album propelled by Valentina Magaletti’s seething percussion. No doubt it’s their most direct and experiential recording, bristling with energies drawn from Slint. Shellac and classic post-punk, psych and alt.rock styles plus special ingredients.
Arriving eight years since their turns for Blackest Ever Black, Moin regroup around the core of Joe Andrews (samples/electronics), Tom Halstead (guitars), and Valentina Magaletti (drums) with a definitively upfront sound in ‘Moot!’ Thrown down quick and live and then rendered and textured with Raime’s studio-as-instrument tekkers, their intention was to create “immediate music that isn’t pretending to be anything but”, and the results pay up a fiercely tight but frayed distillation of their band-based influences, landing somewhere between earliest Swans, the yanked noise rock jags of Steve Albini’s Rapeman, and Bill Laswell’s No wave funk experiments with Material, but adhering to a London-style groove discipline that’s underwritten all their best work
It’s perhaps fair to say that this sound is a sore thumb now more than any point in the past 10 years of music’s continuing phase shift from guitar/drums-based rock to electronics, and that’s where Moin’s music gets interesting, feeling torn between paradigms and naturally, deftly darting in the spaces between that stylistic fallout. Guided by studious knowledge and finely honed intuition, they play by their wits more than ever here, lurching from strung-out doom rock mantra ‘No to Gods, No to Sunsets’ via gnashing white-hot guitars and snare attack in ‘Crappy Dreams Count’, to an exceptionally coiled, hi-wire stepper ‘Lungs’ with breathlessly inch-tight precision and unassailable conviction.
It’s all as close as we’ve heard to their rare live shows as Raime - understandable, if considering it’s the same line-up - but clearly with a harder bias toward their rock influences, letting Valentina’s drums and Tom’s white hot guitars breath in synch with Joe’s stabbing samples and electronic smear. It’s effectively Raime unbuttoned, revealing the wiry torso and clacking bones beneath their shapeshifting skin.
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