Mosh – Monarchy

Dark is a word synonymous with Mosh, the pseudonym for electronic producer Adam Bignell. In fact, even when delving into the deepest corners of the internet, there’s very little information on the artist aside from the synonyms for dark that follow the name around. There’s virtually no PR shtick at all, just a ‘name your price’ album on bandcamp and a wealth of positive reviews. This is, of course, to the artist’s credit, since a mysterious, elusive personality adds that extra layer of intrigue to the music. And intriguing music it is too, with debut LP ‘Monarchy‘ living up to the hype generate via word of mouth.

Opening with a reversed piano chord, ‘McQueen’ personifies the movie star chic of its namesake with a driving beat and gritty synth. Those familiar with the sounds of Justice will feel completely at home in the midst of this dirty mid-tempo beauty. ‘Collapse’ follows with a more up-tempo house feel. There are snippets of vocals amongst the heavy synth riffs, emulating the gloomier moments of Daft Punk without copying that duo’s sound completely.

‘Taurus’ sounds like the sound track from the coolest N64 game never released, with a driving beat and off-kilter guitar riffage. This is followed by the decidedly more experimental ‘Leopold’. There’s a minimalist beat with marimba and incomprehensible children’s vocals. The shadowy undercurrents of the bass keep everything grounded in the atmosphere of the rest of the album, but this track stands out for its exuberant and mischievous edge. ‘Kingpin’ is another highlight, mixing an ominous piano opening with some playful horns and a litany of textures. ‘Misbehaviour’ is the buzzing, razor edged club music your mother wouldn’t want you to listen to, while ‘Silence of Swans’ shows of the punkier edge of Mosh. This rock influence is heard further in ‘Cruella’, a gritty slow tempo stomper.

‘Odyssey XIX’ is another slow, sinister piece, again harking back to Justice and the pre-dubstep boom. This is then followed by ‘Judgement’, which showcases more intricate synth runs than any of its predecessors. The closer and title track encompasses everything that has come before into just under six minutes, with dirty grooves, staccato beats and brooding aura effortlessly oozing from the speakers. Simply put, it’s a fantastic end to a solid album.

So, for anyone that likes the gothic side of electronica, Mosh delivers on all levels, creating an atmosphere whilst barraging with grooves and beats. For the Nine Inch Nails addicts out there, this dopamine will tide you over until the next fix, and then some.