Mohodisco – Kaloomith


During the last few days, I’ve found myself playing an awful lot of Metroid Prime for my Nintendo Gamecube. Now, when I say ‘playing an awful lot of,’ I mean that I’ve had days where it was midnight, and I was still in my pajamas from having slept the night before because I had velcroed my ass to the recliner to play that damned video game. Anyways, Mohodisco’s Kaloomith release reminds me a lot of the music in Metroid Prime, in that it’s mostly grounded in electronica, though it has enough of an edge to it in enough spots to set ears at attention.
Kaloomith is certainly a ‘rock’ record, in that there are a lot of simple, forward-moving beats accentuated with some very capable guitar work from Bruce White (who, ostensibly, is Mohodisco, having written/produced/mastered/recorded all the material here). There are a lot of swirling synth pieces here, as well as some pretty solid (if unspectacular) riffs that pop up throughout the record. The rhythms are generally simple, but the point seems to be to keep the drumming from being too obtrusive. Honestly enough, the bass tracks were what stood out as the focal point of the album upon repeated listens, as the bass instantly stands out whenever it enters the mix.
Listening to the album opener, “Praxis,” I could seriously close my eyes and imagine watching my character from Metroid running down a corridor, blasting things to smithereens while jumping and dodging enemies. I’m assuming that it has something to do with the somewhat ‘atmospheric, spacey’ sounds of the synthesizers in the song, though the steady stream of guitars during the track seem like the perfect background for a space cowboy shoot-out. “The Source” is the other standout track – five-and-half minutes of solid rock with a weird bent that stands out as the most easily accessible track on the disc. Not surprisingly, “The Source” is the closest thing to an actual full band track on Kaloomith, which may be part of the reason the track stands out so much.
The other notable track here veers completely away from the rock, as “Soft and Sharp” seems to just sort of casually exist in a more ambient, less structured form than the material surrounding it on this release. I guess maybe this is were I drew my strongest parallels to Metroid Prime, with the quiet, slow keyboard swells that back up the track, while electronic noise noodlings ‘boop,’ ‘blip,’ and ‘beep’ around a somewhat pulsing sound, not unlike the sort of cavernous ‘echo’ that I hear when I stick my head underwater and try to listen to things going on around me. Perhaps the reason this ‘song’ sticks out so much is because of exactly how little it resembles a ‘song’ (in terms of this release, anyways).
There are a few other decent points on Kaloomith – “Mystery Falls” picks up a nice, dark edge to it when the guitar track kicks in, and the bass track in “Remote Viewer” is pretty cool, though the electronica portion of the song gets a bit weird and wacky for my tastes. Still, though, as far as this electronic-enhanced progressive stuff goes, this isn’t all that bad. I mean, this stuff’s not normally my cup of tea, but the production work is crisp without sounding too over-processed (though you have to keep in mind that with this sort of music, ‘overly-clean’ sounding is the norm), and surprisingly enough, Mohodisco never really got wanky or self-indulgent enough to bore me – yeah, jam bands and progressive stuff has been known to do that to me before. I can’t say that I’ll be dragging this one off the CD rack or anything, but for what it is, Kaloomith ain’t half bad at all. Alright, my skin’s starting to itch – gotta go play some more Metroid Prime now …
(Side note: While proofreading this review, my grammar/spellchecker attempted to modify one of my above phrases to “blowing things to THE smithereens,” and now I’ve been humming “A Girl Like You” all day … Damn you, SpellCheck.)