Momus has always done his own thing, so his latest album isn’t too different from the ridiculously eclectic albums he’s previously released. Talking about playing his “big bassoon” on “Birocracy”, Momus sounds like he’s a hipper, smoother Hot Chip on the opening track with all its blips and beeps. Meanwhile, the higher notes hit on the tender, jazzy “Widow Twanky” recalls the best of Martin Tielli (of Canadian band Rheostatics). Meanwhile after “Mr. Proctor” which could be mistaken as an out-take from Bowie’s Outside. This is also true of “Strewf!” This album hits and misses most of the time, whether it’s the quirky “Jahwise Hammer of the Babylon King” or the shining “The Next Time” with its soft touches. The highlight is probably the bouncy “The Cooper O’Fife” that sounds a bit like Dr. Seuss on LSD. Another keeper is the Supertramp-ish “The Mouth Organ”.
We all know how critical it is to keep independent voices alive and strong on the Internet. Please consider a donation to support our work as independent cultural critics and historians. Your donation will help PopMatters stay viable through these changing and challenging times where costs have risen and advertising has dropped precipitously. We need your help to keep PopMatters strong and growing. Thank you.
// Notes from the Road
"Saul Williams played a free, powerful Summerstage show ahead of his appearance at Afropunk this weekend.READ the article