Overtones for the Omniverse Mocky Artist

Something of a spiritual successor to 2015's {|Key Change|}, {|Mocky|}'s enchanting eighth album, {|Overtones for the Omniverse|}, is an airy classical mini-opus, abundant with warmth and wonder. Over the past half-decade or so, the Canadian producer... Read more

Something of a spiritual successor to 2015's {|Key Change|}, {|Mocky|}'s enchanting eighth album, {|Overtones for the Omniverse|}, is an airy classical mini-opus, abundant with warmth and wonder. Over the past half-decade or so, the Canadian producer's celestial soup of influences has coalesced into a more consistent and distinctive sound that encompasses jazz, classical, Latin, and errant wisps of pop. Channeling the conceptual ambition of {|Stevie Wonder|}'s early-'70s masterpieces -- the album was even recorded in the same L.A. studio as {|Songs in the Key of Life|} -- and a bit of {|Brian Wilson|}'s sunny West Coast sophistication, {|Mocky|} is in full bloom here, managing the producer/composer/arranger triumvirate with easy grace. Recorded over a brisk 36-hour period with a chamber ensemble of trusted collaborators, {|Overtones|} is light on its feet with a refreshing open-room tone and communal energy. The closest thing to a single, the springy Latin-rhythmed Bora! works its subtle groove to great effect, but the more complex Stevie's Room is where the album really shines. A celestial homage to {|Stevie Wonder|}, it's a beautifully constructed piece of chamber music that melds delicate flute and string melodies with exaltant choral and harp accents. Though mostly instrumental, {|Mocky|} does take a couple of turns at the mike, the best of which is Humans, an endearing ode to our flawed but remarkable species. Among sweeping strings, organs, and skittering drums, glowing analog synths nestle beside their acoustic brethren in spacy kinship on pieces like Ape-Ifanys and Well Tempered Lament. It's a truly lovely record with an undemanding appeal that belies its bold craftsmanship. ~ Timothy Monger Less