The predominant electro-pop beats of Mouse on Mars’ newest release “Parastrophics” make this album stand out compared to many songs heard on the radio today.
One of the most surprising things about “Parastrophics,” in fact, is that each song has very few audible lyrics, placing the focus on the inventive musical mixing styles of Mouse on Mars’ German duo of Jan St. Werner and Andi Toma.
This playful album comes after nearly a six-year gap since the group released “Varcharz” in 2006 and shows how the group has grown over the course of the 10 albums it has released since 1994.
The absence of a strong lyrical presence on most of the tracks allows listeners to really concentrate on what Mouse on Mars does best ““ coming up with interesting and surprising melodies and beats using software that St. Werner and Toma designed themselves. At times, some songs begin to sound like the music in the background of a Black Eyed Peas track, but on “Parastrophics,” the beats are never overpowered by words.
The opening track “The Beach Stop” definitely sets the scene for what is to come on the rest of the album and showcases the electronic melodies and unusual approach of Mouse on Mars. There are some soft voices in the background, which can be difficult to make out at first, but as the album progresses, it becomes clear that “Parastrophics” is all about the beats.
The track titles themselves also speak to the innovative style of Mouse on Mars. From “Chordblocker, Cinnamon Toasted” to “Imatch” and “Polaroyced,” the group has come up with song names that are unlikely to be outdone in terms of creativity.
Around the middle portion of the album, the band’s approach to music and electro-pop becomes more commonplace. The lyrics of “They Know Your Name” were the clearest and easiest to understand of any track on the album and “Syncropticians” has a much more calmer and slower pace. This demonstrates the versatility of Mouse on Mars and its ability to create fast-paced beats as well as softer tracks.
While track length varies between three to nearly six minutes, one of the songs, “Bruised to Imwimper,” is only 43 seconds long. This once again speaks to the fact that Mouse on Mars breaks away from convention and creates music on its own terms.
The most familiar-sounding song, “Metrotopy,” is a bit like something that one would dance to or hear playing at party, but this trend is brief, and subsequent songs such as “Imatch” seem to be in a category all their own that reflects the creative power and electronic mixing skills of Mouse on Mars.
The final two tracks, “Baku Hipster” and “Seaqz” are incredibly fast-paced and bring “Parastrophics” to a strong close. Both songs summarize what Mouse on Mars does best on this album and demonstrate the unconventional and innovative techniques of combining some string instruments and electronic mixing.
Even though these 13 songs are probably unlike anything that those unfamiliar with Mouse on Mars have ever heard before, it is the sense of unpredictability that makes this album compelling.
Email Seikaly at aseikaly@media.ucla.edu.