Restless Mosaic Proves There’s Much Left To Explore on New Album

By Deuce

In this era of fast food, microwave meals, and instant gratification, who takes the time to put together nearly nine minute songs?

That’d be Restless Mosaic on his newest offering, the 10-track album There’s Much Left to Explore. The cut in question, “Foggy Drain (Saponified)”, is as atypical as the rest of the collection is, and not just because it clocks in at almost eight and a half minutes.

It starts off scattershot, the way any PC plays audio when it’s running out of memory or RAM, perhaps. It goes well beyond five minutes before the four-on-the-floor drums earnestly kick in, to say nothing of the harps and the enchanting piano that gets things going maybe two or three minutes into the track.

And if you’re looking for vocals, by the way, you’d better keep looking. The vast majority of this album is devoid of conventional singing, rapping, scatting, and speaking, even. There’s plenty of synths, numerous sound effects, panning, drains gurgling, and other such idiosyncrasies, but vocals, not so much.

Most of the cuts are fun, like the leadoff “Swelter” which hits at least 120 beats per minute with an amiable, swirling bassline. It’s also rounded out with a few synths but remains ebullient in it’s progression, endlessly driving forward.

However, Mosaic truly gets down to business on the title cut, which busts out the dark strings, long chords, and eschews the drums until nearly halfway through it. It’s a pensive, almost somber affair that belies the pop keys that close the tune out.

“Desert Scorpion” almost has marching band aspirations with its heavy reliance on dry horns repeating one after another as if in a round. The percussion sounds ethnic, the kicks play the background, and the artist treads down unfamiliar terrain for the duration of the joint.

This progressive approach to sounds and sonic landscapes continues on “You Only Want Rain Because You’re On Fire”, which manages to couple an organ with a rousing acoustic guitar and those guitar tubes heard in the uncertain parts of movies in which the protagonist or antagonist undergoes some seminal event. Thus this album unfolds, track after track, never letting you know what’s coming next.

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