Mouse On Mars

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Experimental / Electronica - Cologne, Germany

 Mouse On Mars create densely layered tracks with the intended results being grounded between radical experimentalsism and timeless pop appeal. Designed to yield more with repeated listens, songs are minutely detailed. Drum tracks, for example, often contain over twenty different layers: live drums, programmed, digitally processed and various combinations and/or mutations of the aforementioned.

Fills and breaks are set, arranged, and placed individually as opposed to being looped. The results are rich, deep, wonderfully varied. Mouse On Mars' sound links them to the club-music scene, as do their many remixes and collaborations with members of the dance-music world. Yet their association with the formalized and utilitarian world of dance music is ironic, as the band’s raison d’etre is to place electronic flies in any aural ointment they choose to muck through. A series of 10 albums and numerous remixes has come off as primarily intent on dashing expectations, from the ambient-house ectoplasms of 1994’s Vulvaland and 1995’s slightly more structured Iaora Tahiti; to the flighty and funny electronics, spluttering horns and acoustic-guitar samples of 2000’s more “organic” Niun Niggung; to the forest of sonic porcupine quills that is Idiology. Radical Connector (2004) further granulated the MoM aesthetic into nine vaguely pop-oriented songs, ever heavier on the beats and increasingly hinging the tunes on the vocals and drumming of longtime collaborator Dodo Nkishi.


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