Where Moth and Rust Consume by Sone Institute

Sone Institute cover

Sone Institute | Where Moth and Rust Consume
Front & Follow (CD/CS/DL)

In his first release in six years Sone Institute (Roman Bezdyk) is about to deliver his third full-length, Where Moth and Rust Consume on Manchester imprint Front & Follow, on October 26. The ten track album opens with I Only Exist, a portal with a mesmerizing wavy synth, a magical setting, voice transmissions and some other mysterious sound effects. It all sets the scene as an ambiguous electronic passion play styled in varying shades of gray. That is until track two takes a 360° turn saturating the goings-on in a funky rubber rhythm that harkens back to the earliest days of Factory Records.

So, it seems, this is likely one of those records that will break completely from static formats by bringing a curious surprise with each individual track. On The Devil Works In ASDA the low hip beat blend does feel like music that you can dance to, but resists any easy trite take – rather falling between pop and electronica. Managing to escape the repetitive over-produced work we hear emanating from modern radio, this has more in common with early waves of late 70s/early 80s British electronic music acts like OMD,  Soft Cell, even a bit of Chris & Cosey – with a bit of Philly soul in the mix.

Sone Institute promo photo 1

With the static vinyl refrain of 50s style commercial singers repeatedly crooning the title of Winter Is Dead, it sounds like a perfect theme to an eerie scene in an episode of David Lynch’s Twin Peaks. Sone Institute blends a wavy, maudlin theme that twists into chirping birds and fairlytale wonderment – it’s pure schizo cinematic psychedelia. Oh, nothing is sacred here, or all is, or however it goes, deep into the lounge cabaret that is Justice – As Is. You’d swear that he simply decided to play one of Esquivel’s most classic obscurities while eeking out a sci-fi vocoded message that leads to a quasi hip-hop undertone that never quite breaks free. There’s a lot suppressed here, but a kitchen sink of influences from rock to tribal, and much in-between.

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The Glass Arena starts off as a minimal, ambient work, receding with slight reverse electronics and dimly lit passages. The piece is a slow build, with definitive synth lines that become more and more voluminous with layers of pause and brightness, eventually opening way up in its final minute – into something reminiscent of a classic Tangerine Dream soundtrack that comes and goes rather quickly. He moves into the reverberating Oblique Messages next, a track that’s quite chilling and suspenseful.

The work exudes the hypnotic feel one immerses themselves in when experiencing scientific exploration that expands awareness, or from observing one of those alien invasion cult flicks of the 50s. It has a certain sternness that strangely interrupts the flow of the grooves strewn throughout this record — only further emphasized in the closer, God Bless You, repeating those words over a scratched old record with wholesome lilting harmonies of yesteryear. It’s perfectly off-putting in the best possible way.

There is also a companion ‘bonus’ album of eighteen tracks called Past and Spared that includes mixes, outtakes and other surprises. This is one of those oddballs that will appeal to fans of People Like Us, Nurse With Wound and Pet Shop Boys alike….now gents and ladies, I am getting very sleepy…….

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