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Maserati - Pyramid Of The Sun CD (album) cover




Post Rock/Math rock

3.58 | 10 ratings

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4 stars The Edge forms a post-rock band and tries to play Krautrock!

If that sounds totally bananas and much like a mix gone horribly wrong like tuna and coffee - then just hold on a minute... Maserati has been playing a somewhat psychedelic form of instrumental post-rock on their first two outings, and as much as I like them, Ive always felt there was something missing to the equation. Enter Steve Moore from progressive electronic band Zombi, - and suddenly this mother load of swaying guitars and never-ending crescendos (that usually sticks to the genre like flies on candy) - seems ready for flight.

Steve Moore relies mostly on vintage sounds, but he has a sneaky way of updating them - covering them up in a way, so that, which easily could be something retro and all too familiar, turns into a very modern take on the Berliner school of electronics. Combined with the Maserati sound of crunching rocking textures this album sounds unlike anything Ive heard from the scene before.

The first song starts out with an electronic aural like feel to it and then quickly forms into the most U2 like track on the album. The tapping melodic guitar, although slightly more distorted than what you would normally associate with the Edge, - in addition the bass trots along very much like Clayton does and even the drums starts out with the signature Mullen beat. Then why does this music sound nothing like U2 you might ask? To tell you the truth, I have no idea - but this sure is a tasty combo.

My absolute favorite track on this is Oaxaca, which just by its name sends my upstairs compartment flying off to Mexico and the Incas. It has a Heldon vibe to it - the album Stand By to be more exact. This was Heldons most accessible work, and the synths here on Oaxaca reflect very much that particular way of knitting themselves in between the beats - thereby creating a beat and underlying current of a nearly reachable melody. Again - combined with the rest of the band, things really starts to get exciting and bubbly.

This album, whilst still retaining its post-rock past, manages to be very relaxing in most places. There is virtually no emphasis on solos whatsoever, but all the more focus on dynamics and creating a sonic venture that is apart from most other artists featured in these parts of the woods.

Guldbamsen | 4/5 |


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