I’m the operator with my pocket calculator. Kling Klang Kloing, did my ears just spotted an resurrection of the good old Kraftwerk times? No way! This is the new sound that gives us retro lovers flashbacks to the times that everything was mind-blowing stiff , pop structured and essentially robotic. It’s the openings track of oldschool electronic producerTom Monoto who sends us internal messages how suitable his music is for the Yeah I Know It Sucks genre. I completely agree that this small and friendly short EP is worth to be mentioned on this blog, not because it sucks, but because it’s actually pretty nice and compact! The ‘Forbidden’ track really reminds me of good times where the mentioned electronica pioneers ruled my small world. That was a long time ago, but hearing the fresh take of Tom Monoto’s work makes me think how good the old days where and that if it was possible to do some time travel, it would be a split second to hit back in time! But actually it isn’t even necessary as the happy and bright electro retro robopop that has been captured here is created in the year we are living and just taste just as good as the mechanic German granddads could have delivered.
I don’t know what it is really, but every time when hearing the music of Tom Monoto it makes me wonder if he has perhaps uncovered the magical skill of only capturing the essence of electronic music, and leaving all the unnecessary things out. The results are basically what other people may call perhaps simple, but I think it sounds more effective and isn’t as easy as it may appears to be. For example the lovely relaxing ‘Those Moments’ track, that is a very solid sweet melancholic track with purely the essential ingredient of one main instrument that comes across as it is played straight from the inner core of Tom Monoto.
A little less basic and with more sounds to showcase is the electro tune called ‘Asteroid’. Tom Monoto seems to have conquered the prominent vibe of retro electronica and here we hear good vibes with a secretive swinging undertone.
The last track is somehow a speech that plays in the past and the futuristic future of the present. (Can you still follo me?) Is this Tom Monoto trying to vocalize his true visions for what will happen next? Whatever will happen, I personally hope that mister Monoto will keep us sending us messages how much his music sucks, and that the actual links to his newest music keeps providing the opposites… http://tommonoto.bandcamp.com/album/wallflower