2015 / Sunshine Coast, Australia
Though Mohn may fall outside the realm of what I generally listen to, I found myself drawn to the glum, floating feeling created by his music. The slightly lo-fi, hazy production adds to the charm of the relatively minimal beats, often consisting of steady hip-hop drum patterns guided by glossy keyboard strokes, all amidst ambient and dark soundscapes fluttering in the background. These mostly instrumental tunes (there are occasional vocal samples, such as in the first track, but there is no actual vocal performance from Mohn as far as I can tell) are downtempo and unassuming. My favorite moments on a lot of these tracks sound the way laying in bed at night and taking a deep breath feels; unfortunately, many of those tracks flounder under their own lack of direction. Though the faster beats and jazzy chord strokes of tracks such as "13am" prevent me from likening Mohn to muzak or the work of ambient artists such as Brian Eno, Walk Among The Scene is still relaxing and enjoyable as background music. Though it is the longest track on the album, "First to Last" seems to give the best indication of Mohn's sound and aesthetic, as it sounds like the soundtrack to a modern interpretation of what might be playing in Edward Hopper's 1942 painting, Nighthawks. That may simultaneously be the greatest compliment and summation I can give of Mohn's work. Walk Among The Scene is far from perfect and, though it may not be the most engaging or beautifully composed body of music, the gloomy, opiated vibes on tracks such as "First to Last," "Papers," and "Cut & Repose" are enough to warrant a listen, at the very least.
FFO: I'm not especially familiar with producers or similar artists so I can't offer a particularly accurate recommendation list, but I hear similarities (either in relation to production or tone) to Ricky Eat Acid (early works) or a darker, simplified, and instrumental Moby or Aim.
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