The most recent album by Maserati actually came out last year, and had I actually listened to it during 2015 it would have stood a very good chance of getting into my top 10 albums of the year. But, such is the life of a downtrodden music blogger such as I, there is so much music I want to listen to that I neglected this until the end of January this year. Sorry lads.
Anyway, Rehumanizer lays down its intent from the very start with 10 minute long opening track “No Cave”, swelling synths eventually segueing into driving space rock. And it’s got a euphoric bass and drums only midpoint which makes me very happy indeed.
“Montes Jura” takes the tempo down, and is an absorbing synth-led epic. It’s dark, it’s portentous and it’s absolutely massive. I want you to listen to this while staring at the album cover. Go on.
After their previous album, Maserati VII, became the first to feature a song with vocals, Rehumanizer has two – and while the overriding feeling I had about much of the album was one of John Carpenter meets Krautrock (in Space), “Living Cell” strays into a post-punk world reminiscent of The Chameleons. The other vocal track, “End of Man” is a tightly driving piece that features heavily processed vocoder singing and is none the worse for it; in fact it sounds like how you were told the future was going to sound in an Atari 2600 sci-fi game. If it doesn’t get you chanting the word “Institutional!” like a demented robot while just walking down the street, much to the surprise of your fellow commuters, then nothing will.
“Rehumanizer I” and “Rehumanizer II” bring the album to a close, both songs paring back the synths to allow twin guitars to fight to the finish, pushed on by a chugging, propulsive bass. And just like that, 40 minutes in, it’s all over and you’re back on earth – but Rehumanizer is an interstellar trip you’ll absolutely want to take more than once.