The Other Life Gets “Moody” on New Single
Precious little is known about The Other Life, whose most recent release “Moody” has been garnering some serious airplay on The Beat London 103.6 FM, Cambridge 105 FM, and other radio stations overseas. He takes most of his photos in a mask straight out of Stanley Kubrick’s classic film “Eyes Wide Shut”. That same mask is present throughout the video for “Moody”. Conceivably, he’s located in some part of the UK, although it’s tough to say where.
His bio offers little help and is more about his music than the man himself. There’s just a handful of posts on his Facebook page (he’s wearing the mask in most photos), and his Soundcloud is that of his record label, NuDealRecords. For all intents and purposes, it appears The Other Life is his music—which would seem to be that way by design.
The thing is, “Moody” issues little more information than the other sources as to who this masked man is. The single contains three cuts, including the Operator S Remix and the John Gary (could this be a clue?) Remix of the title track. The Other Life is credited with playing all instruments on each song, indicating he’s a producer, perhaps a DJ, but certainly an artist.
Whatever he is, whoever he is, the focal point of each track is certainly the instrumentals, which are generally devoid of vocals (provided by Oda Sander) except for on the hook reverberating throughout the songs, wondering “why you look so moody?” The Operator S Remix is a stripped down affair that begins with a basic drum beat and goes heavy on the percussion for the first minute and a half before unveiling some serious bass that’s sure to crowd the clubs overseas. The bass line is simple but effective, concentrating the listener’s attention on the four on the floor beat that pervades each incarnation of the single. On the Operator S Remix, there’s so much reverb and echoes on the vocals it’s hard to make out what Sander’s singing.
The John Gary Remix concentrates even more on the instrumental track, which is characterized by a good snare and the most electronic feel of each of the three versions. The drums breakdown for the callout chorus before renewing themselves with zeal to up the energy on this one. The original of “Moody” was probably selected for its overall loudness, giving the track a chaotic feeling swirling with Sanders’ vocals and effects sounding like video games. At least one of these three versions is sure to resonate with listeners, perhaps fueling anticipation for a full-length release from The Other Life.