Review Summary: The third release from Adam Pierce undergoes a bit of change and maintains a unique approach while reveling in the results.
Adam Pierce, the percussionist/multi-instrumentalist and creative force behind the anagram of Mice Parade does on his third release as all blossoming musicians will do.
Mokoondi sees a slight alteration of the unique blend of post rock and electronica found on the previous release,
Ramda. From the implementation of exotic instruments to the strong sense of improvisation and free exploration, there is a certain novelty here that this record exudes. While entrancing at times, it feels just plain fun in others and more often than not dares the listener to keep from nodding to the beat.
Most impressive and prominent on this album is the way Pierce masterminds a subtle conjoining of seemingly simple grooves and polyrhythmic textures into one execution. Most of the songs ride themselves out against what, on the surface, seems to be feel good free-play complemented by relaxed dance-grooves. The title track for example trails along a jazzy rhodes piano hook that will make you feel like you're sitting next to Danny Ocean (
Ocean's Eleven). For the most part things stay linear with the occasional flaring up of brass and the eventual encompassing and release of a string countermelody.
The string instrument in question serves as centerpiece on many of the other tracks, and also provides another key element into what sets this record aside from others. Referred to as a
cheng (a Chinese harp) it introduces the album in the three-part opener
Open Air Dance, acting as both melody in the arrhythmic first track and as a dynamic establishment of strummed rhythm afterwards. In contrast to the highly percussive introduction with its snare groove counterpart,
Ramda's Focus instead brings out the Eastern influence by utilizing it as the melodic motive atop a plethora of rhythmic decoration.
Although the cheng oftentimes finds itself at the forefront of the mix, other instruments get their moments to shine throughout the listen. The mellow
Into the Freedom World (also in three parts) highlights guitar and rhodes as it abandons its quiet ride upon the dissipating drumset. Vibes and synths also play a part to complete the atmosphere, especially once the rhythm has kicked back in to build a surprisingly layered sound that doesn't overwhelm the groove. The same can be said about
Pursuant to the Vibe in which all instruments glide unobtrusively while Pierce drives the vibe forward, if you will.
The Castaway Team even boasts a bit of bass, a touch of distorted guitar, and also features a small chorus of gentle "ahhs" and "oohs" fluttering over a xylophone to finish things off nicely.
Generally, the bulk of the tracks here escape the post rock cliche of prolonged development and instead often aim to unfold ideas quickly. The idea seems more to extend Pierce's rhythmic motives in some way via implied improvisation (upon a variety of instruments at that) or segue into another direction all together. Rarely, if at all, do a few minutes pass by without somehow returning or continuing into some sort of new rhythm section. Granted this isn't to be unexpected, of course, given that Pierce is primarily a percussionist.
There is certainly nothing wrong with
Mokoondi, in fact the majority of it is quite pleasing, rather enticing even, and genuinely easy to listen to. Its only flaw, if one could call it that, is the tendency to sometimes feel a bit lengthy or drawn out. However, chances are most listeners will hardly notice this past the almost hypnotic rhythms and ultra relaxed vibes. While there are a few places Pierce tends to veer left of center, they mostly act as segues and it is never far enough to disrupt the listening experience. In fact, this is a release that will immediately feel familiar and unique all at once for any who are interested in something new.
Recommended Tracks:
Open Air Dance, Pt. 2
Pursuant to the Vibe
Mokoondi
The Castaway Team
