AntiMozdeBeast – AntiMozdeBeast II

Rating: 3.5/5
Distributor/label: Self-Released
Released: 2020
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Band line-up:

Gabriel Palacio – Everything


1. Rebirth of Sin
2. The Sky Unfurled
3. Deafening Night
4. Maladies of The Mad
5. The Empire Decays
6. Hapless History
7. Anagram of Repentance





AntiMozdeBeast is an experimental industrial/noise act who self-released its latest full length album ‘AntiMozdeBeast II’ on 16th October 2020. It was its fourth official release of the year, following the acclaimed LP ‘The Red River’; the EP ‘The Crossroad’; and the full length ‘The Political Beast of War and the Antichrist’. Whereas ‘The Red River’ was bleak and harsh, ‘AntiMozdeBeast II’ is more uptempo and agitated rhythmically. Its tracks are futuristic and gritty. Gabriel Palacio creates every sound, note and lyric and draws inspiration from groups such as Nine Inch Nails.

Whilst often simple harmonically speaking, the textures on offer here are quite intriguing. The layers are often very dense, filled with addictive and pulsating keys, classic electronica sounds, straightforward yet stylish melodies and a whole world of percussive beats. Other times, things are more sparse. In such moments, you really get a chance to appreciate the perhaps previously unnoticed parts of the sound and how well produced they are. Sometimes it’s very satisfying to simply listen to a good old fashioned techno drum loop. The screamed and distorted vocals can get a bit tiring at times, but they do provide a strong sense of rage and passion that is exciting. The frontman clearly means what he shouts about, it’s just not always clear what the hell he’s saying. Unlike everything else, that’s fairly typical. 

There are times (for example in ‘Deafening Night’) where things seem to go a little OTT and sound so chaotic they come across as silly, but if you’re open minded they too are kind of interesting. The fact that track’s sometimes in a major key doesn’t help things, though. A happy, dancing clown going mental and attacking people springs to mind. Again, if you’re open minded, I guess that’s an interesting thought. In the song’s defence, it’s not flat out all the time, and again the listener is offered a chance to appreciate its thinner sections. Most of the other tracks bring to mind bustling city life in a rough area and various crimes taking place in the black of the night. Or maybe that’s just me. 

In conclusion, this material may at first come across as a bit insane, but if you concentrate on each section of the music, you will realise they actually go together quite well. Interestingly, the music is a mixture of repetitive and sometimes minimalist lines, mixed with frequent maximalist instrumentation. It’s quite arty and won’t be for everyone, but it does have something about it. This won’t be for most techno fans, but it may appeal to angrier/madder ones. It would be nice if there was some more variety in tone in the album, but again, as it’s so complicated it does have a long lifespan. 

Review by Simon Wiedemann