Monoceros I Feel Apocalyptic Today

Joan Malé has been making sumptuously pristine electronica under the Monoceros name for a number of years now, initially hitting my radar by way of 2006's Imaginary EP (which incidentally still sounds as warm and comforting as the day I heard it). In a scene that isn't particularly renowned for its brash self-promotion, the Spanish native has made scant few waves over here, save for a rare live appearance in Brixton three years ago. Things could be about to change however with the release of his third album proper, a marked leap forwards in scope and grandeur, which introduces guitars both acoustic and electric to fine effect, resulting in truly beautiful forward thinking electronica.

It's not as if there are no reference points for this approach though; over in Iceland Stafrænn Hákon has been moulding his initial ambient-guitar forays into a full on band sound with more than a slight nod to the Album Leaf. Even stalwarts like Susumu Yokota have begun heading in a decidedly organic direction. Monoceros stands out here though by keeping his music firmly rooted in the electronic production techniques he utilises so well, using instrumentation to bolster his melodies and deepen the listener's emotional bond rather than attempting what would have been a step too far into full-on instrumentation and traditional song structures.

I Feel Apocalyptic Today continues the refinement of his sound from 2006's Tales For Silent Nights, happily easing the glitchy bleeps into the background to let the real essence of the tracks shine through. Opener Moment of light adds an unexpected chugging low-end riff under the simple acoustic line as shimmering processed flourishes smooth it all off, while Little cowboys central loop is reminiscent of The Books' wonky ear for melody. The album drops to languidly drifting ambience on the gorgeous When the trees sleep, which demonstrates the tasteful nature of Malé's guitar work - a level of quality that continues over the course of the record.

It's towards the end that a deliberate change in dynamic is introduced. How was the earth [mother] leaps from the speakers with soaring delay-soaked guitar and great washes of processed synth, while Escape from gravity imagines 65daysofstatic jamming on opiates; all confident, live-sounding drums and a triumphant wall of noise that dissolves effortlessly into squalling distortion.

Its greatly affecting music made with real depth of heart and its out there now just waiting to be discovered. I can only urge you to invest some time in this album, for it will surely be rewarded with shivers up the spine and an optimistic smile. Little gems like this have a habit of keeping one going through the cold winter months, when the warmth of home seems like the best option and hopes for the future are allocated that touch more importance in the minds of dreamers everywhere.