Mother Ghost Awakens Listeners on Somnambulo LP
Mother Ghost has crafted a well put together, deliberate combination of qualities, tunes, approaches, and stylistic maneuvers on its debut album Somnambulo, which was unveiled to the world at large a mere five days ago. Moreover, this pastiche is highlighted by a fair amount of introspection, lyrical adroitness, and timely social commentary that eludes the scope of many artists these days.
There’s no mistaking the programmed feel of the album—nor that of its live counterpart. For the former the group relies on heavily processed drum sounds, many of which aren’t bad at all. There’s also a fair amount of synth work populating these cuts, courtesy of the half of the duo comprised of Thomas Flores (ditto for the drums).
However, Flores also handily mans the bass to perfection with an adeptness that surely must include live instrumentation (at least on some of the songs). But when it comes to guitars, his brother Oscar is unmatched in his vivacity and sheer range of the sounds he’s able to produce on his stringed instrument(s).
Plus Oscar hits the vocal booth with something of an 80’s type of feel though forsooth, his style almost belies words themselves. His singing is oft drenched in effects, replete with timbre, and like the calling of one’s consciousness mere moments after sleep has subsided, littered with the assorted grooves the pair have put together.
“Hiding in a Dumpster Waiting for ICE Agents to Leave” showcases just one direction the group goes in that leaves very little to be desired. It sounds like it clocks in at well above 120 BPM, has a frenetic guitar melody that sets the tone, and an equally compelling bass line that could easily animate any group of adolescent listeners. The tune has good energy and, as the title strongly implies, appears to be putting it in a decent direction.
On other cuts like “White God” Oscar drops science with lines like “you want him and you don’t understand the lie”. The track has prominent 80s sounding synth chords and functions somewhere between a ballad and a condemnation before the duo picks up the pace with their instruments.
Certain songs have sensual, undeniable groovalicious grooviness, which is the case on “Ungrateful” and almost sounds better without vocals, the music is so good. It’s further testament to the pair’s musical proficiency and the overall caliber of this album as a whole.